Apparently it’s a thing that some people wake on the first day of every month and, before they have even had a cup of coffee, exclaim, “Rabbit rabbit!” This, I am told, is for luck. It is a practice I somehow have never encountered, which is surprising, since surely it is the sort of quaint tradition a lover of twee, old-fashioned books would have run across well before midlife.

Be that as it may, every November 2, it is my practice to wake and the first thing I cry is “Carl Ditters von Dittersdorf!” Not for luck, mind you, but simply because it’s a name that makes me happy. Then, I’ve always had a little bit of Schroeder in me.

Dittersdorf (1739-1799) was one of the closest friends of Franz Joseph Haydn. He played first violin in a superstar string quartet, with Haydn (second violin), Mozart (viola) and Dittersdorf pupil Jan Křtitel Vaňhal – a.k.a. Johann Baptist Wanhal – (cello). Imagine being a fly on a wall at those performances, or even rehearsals! Though wet blanket Michael Kelly, the Irish tenor who created Don Basilio and Don Curzio for Mozart’s “The Marriage of Figaro,” claimed the ensemble played well enough, but was not really anything exceptional. Mee-yow!

Among Dittersdorf’s enormous output, which includes some 120 numbered symphonies (it’s possible he may have composed 90 more) are twelve programmatic works inspired by Ovid’s “Metamorphoses.”

Personally, I find more enjoyment in his chamber music. Here is his String Quartet No. 3 in G major.

But perhaps you’d prefer his Harp Concerto, once his most-frequently encountered work (which admittedly isn’t saying much).

Happy birthday, Carl Ditters von Dittersdorf! Try it. His very name gives me a sense of the kind of cheer his music embodies.