Upon hearing the term classical, composers such as Mozart and Haydn generally come to mind. However, few realize the many composers besides those greats that had influence on the classical period as well. Carl Ditters von Dittersdorf’s work as a composer earned him much admiration and success during his life. He composed Die vier Weltalter as the first part of his Sinfonias on Ovid’s Metamorphoses in 1781 at the age of 42. Dittersdorf was amidst many shifts in employment, however he did achieve recognition and financial benefits from his twelve symphonies based on Ovid’s writings. As was his tendency, this piece was written in a programmatic style, portraying world history in four rather short movements, not more than eighteen minutes in length. Dittersdorf used basic instrumentation for the symphony orchestra of his time—strings, a few brass and woodwinds, and timpani (Grave and Lane).
Upon first hearing Die vier Weltalter (“The Four Ages of the World”), I immediately connected it to the creation and destruction of the world as recorded in the books of “Genesis” and “Revelation.” While Metamorphoses is based on Roman Mythology, Dittersdorf’s interpretation of the text seems to have Christian influences. This could be in part due to Dittersdorf’s education in a Jesuit school (Grave and Lane).
The first movement is Larghetto and serves as an overture. There are two main themes that pass back and forth with not much development. The long-short-long rhythm throughout has a stately feel, much like a procession, that fits well in the first part of Ovid’s story, “The Creation” (Ovid). I can easily imagine things being put into place; the sun, the moon, the waters, each with their own moment of entry. The simple melodies and harmonies make the movement understandable and straightforward.
The second movement begins the action. In a developmental section, the story is pushed along as motion is handed off to different parts of the orchestra. I imagine man and all creatures discovering the Earth and one another. A short staccato rhythm passed between the brass and strings suggests a conversation. This movement represents the good times, or the “Golden Age,” before sin and corruption entered the story (Ovid). There is a section that passes through several keys at a softer dynamic. Simultaneously, the violins play staccato notes on a repeated high pitch until the orchestra returns to the first theme of the movement. This section could be perceived as man’s curiosity and search for truth and also hints at future ideas. It ends with a return of ideas from the beginning of the movement, harkening to prosperity and happiness.
It is not until the third movement that a minor key is used and carried throughout. “The Silver Age” of Ovid’s story is evident here in the dark and solemn mood of the Minuetto con garbo. In Ovid’s writing, Saturn is banished to Hell (Ovid), much like Lucifer in Christian theology. This brings to the forefront the idea of sin and suffering. Several times within this movement a strong statement beginning with octave leaps suggests rebellion or confidence in the path that is being taken due to the reiteration of the that theme. The larger part of this movement uses short and deliberate motions. However, there is a section following the main theme that is legato and more mournful. The resonating oboe part above implies a sense of remorse and yearning.
The final movement begins with a slow and dark descent played by the low strings followed by a trumpet voluntary. The first thought that came to me upon hearing this was that this was a call to war, as often in war there are bugles to announce the arrival of the troop. In Ovid’s story, the “Brazen Age” brings many wars (Ovid). Throughout the movement, intensity and quick motion, especially in the strings, develop the motion along as the brass pierce through the strings reminding the listener of the bugle call. In the midst of all of the war, there is a sign of light from the past that seems to be hopeful and ties this last movement as Dittersdorf brings in variations on the themes from the first movement. The work ends triumphantly, creating a nice book ended statement.
While this piece is not a part of the canon, it is clearly evident that Dittersdorf was of the Viennese Classical School and it carries through this work. He uses the 4-movement format, inserting a minuet as the third movement where there would previously have been only three movements in a fast-slow-fast order. His rather simplistic style is also typical of the period, giving the audience a look into Ovid’s Metamorphoses using melody to portray events and refraining from too complex of harmonies and ornamentations (Grave and Lane).
Ovid. "Ovid's Metamorphoses." The Internet Classics Archive. http://classics.mit.edu/Ovid/metam.1.first.html (25 January 2009).
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