In this work, Dittersdorf continues to explore themes from Ovid's Metamorphoses, taking the famously moralistic legend of the Fall of Phaëton from the skies as his subject for musical representation. According to Ovid, Phaëton asked his father Helios to grant his finest wish, which was that he might be allowed to take charge of his chariot for a single day. The wish was granted, but in ignoring paternal advice, the unfortunate Phaëton found he could not control the horses, which bolted and, as the chariot fell to earth, threatened to engulf the world in flames. Zeus saw its descent, and by hurling a thunderbolt at the train, diverted its fall into the river Eridanus. While Phaëton perished for his folly, the earth was spared.

Dittersdorf's D major symphony is scored for one flute, pairs of oboes, bassoons, horns, and trumpets, with strings and timpani. Each of the four movements offers a presentation of one or more salient points in the Classical narrative. The first is headed by the first line of Ovid's tale "Regia Solis erta sublimibus alta columnis" - "The regal seat of the Sun was on high, with lofty columns shining in gold and bronze like flames". The slow introduction is suitably noble in tone, but an unexpected but highly effective touch is the use of syncopated rhythms in the strings supporting a rich oboe theme. It also brings a feeling of tension and foreboding to the music, before the start of the main Allegro, which is in sonata form. Swelling scalic passages and sudden dynamic contrasts suggest the danger awaiting the over-ambitious hero of the piece.

The Andante slow movement presents a charming scene as, according to Ovid "the Sun laid aside his shining rays about his head, and commanded the boy come near, accepting him as his son..." The first bassoon doubles the main theme at the octave with the first violins, over a descending bass line. But a father's cautionary implorings are heard, too, in the warning unison scales for the strings, often heard against the child-like pleadings of Phaëton himself, as he seeks his wish. Using these contrasts, Dittersdorf engages the divine, immortal father and the weak, mortal son in convincing musical dialogue.

The third movement (Minuetto) is in fractured Galante style, and its angular character suggests a deliberate attempt at investing the music with a sense of paternal remorse. Headed "Paenituit iurasse patrem", the score at this point reflects the sorrow of Helios at the realization that in granting his son's wish (for this was the one thing he would have denied him) he has sentenced him to death.

Both legend and symphony climax with respective depictions of unavoidable catastrophe. According to the Ovid's text "Zeus thundered and hurled his thunderbolt at the charioteer, thus expelling him from life and from his conveyance, and curbing fire with savage fire..." Dittersdorf's finale (Presto - andantino) is one of the most astonishing examples of pictorialist-dramatic tone-portraiture to be found anywhere in the field of the Classical symphony. The opening syncopated passage in B minor recalls the start of the symphony, but strident horns and alarming tremolando interruptions for the violins are instantly suggestive of the chariot running rapidly out of control. Unison scales for the strings culminate in a massive drum stroke as the thunderbolt collides with the vehicle and its tragic occupant. Suddenly the mood changes to one of exalted calmness and deep inner peace, as the closing Andantino paints the sky with the solar eclipse that Helios places there as he mourns the death of his son.



© All Music Guide