End Notes: His Life and Works
1 See BurneyPresentStateGermanyNethUP, I, 350. Further see also GrantBurney for informative discussion about many aspects of Burney’s career.
2 BurneyCyclopædia (1819), XXXVIII, pages unnumbered.
3 BurneyGenHistory (1789) IV, 599. "The spirited, natural, and unaffected symphonies of VANHAL, seem to have preceded those of Haydn, at least in England. The quartets and other productions for violins by this excellent composer certainly deserve a place among the first productions, in which unity of melody, pleasing harmony, and a free manly style are constantly preserved."
4 See "Dlabacž’s Dictionary and its Place in the Literature" by Mark Germer in FAM XXVIII , no.4, Oct-Dec 1981, 307-12. Germer points out the importance of Dlabacž’s Lexikon and its complementary relationship to Gerber’s Lexicon which was being written at the same time. He tells further that Dlabacž was born at Čerhaniče near Česky Brod, in 1758, was ordained, and became choirmaster at the Premonstratensian Abbey of Strahov in Prague.
5 GermerDlabacž, 308-9, says "Dlabacž seems to have been as modest as he was active in intellectual circles: he signed his dictionary simply "Bibliothekar im Stifte Strahow."
6 See JonesVanhalQuartets, pp 12 and 238.
7 Weinmann’s catalog does not include the symphonies.
8 Two mistakes in numbering (in the Vaterländische Blätter article) might be noted: the date "auf das Jahr 1812" and the mispagination of the second page as 465 instead of 477; they do not effect the content of the article.
9 Anton Strauss, the editor whose name appears on the title page of the Vaterländische Blätter, might have been the author of the necrology about Wanhal. But more than likely it was written by Franz Sartori, who succeeded Strauss about 1815. Sartori had been editor of the Graz based Zeitung für Innerösterreich; therefore, it may have been he who provided the shortened version of the Vaterländische Blätter article for Der Aufmerksame. See the articles about them in Wurzbach-BiogLex.
10 This translation of Dlabacž’s article "Wanhal, Johann Baptiste" is similar to the one I made to accompany the Introduction to VanhalFiveSymphonies. I am grateful to Dr. Med. Peter Kühn whose insightful suggestions are reflected in my revision.
11 Probably Matthäus Schlöger, the court Klaviermeister.
12 The implication is that Wanhal wrote compositions which Gassmann passed off as his own, perhaps for his opera Ezio which was performed in Rome during that time.
13 A-a’s suggestion that Wanhal had become a fine performer on the "Viole d’amour" is suspicious; but it lends a bit of credence to the notion that Wanhal was the cellist in that famous quartet of 1784.
14 WurzbachBiogLex, XIV: article re Elsnitz entitles him Freiherr.
15 AMZ, 16. Jg. no.3. January 1814, 37-41.
16 GerberAdd, col 836-9, undated, (1814?).
17 See WurzbachBiogLex, vol. 53, 60-63, (1886).
18 "eine glückliche Heyrath," see GerberLex, column no.767.
19 "wie mir Reisende versichert haben."
20 GerberNLex, Leipzig: 1814, 508-9.
21 RichterEipeldauer cited by S. Weyr in "Neues Österreich," 15.5.1960, 17.
22 DewitzVanhal,. I have always regretted that I could not personally express my admiration to Dewitz for her accomplishment. Among the questions I would liked to have asked her was (1) whether she actually saw Wahal’s birth record, and (2) why she chose to spell his name in French on the title page of her dissertation.
23 The most thorough research about Wanhal’s family background seems to have been done by František Fišer and published in his dissertation of 1966. See FišerVanhal.
24 AMZ no.5, 30ten October 1799: "Van Hall".
25 FišerVanhal, 1966.
26 DewitzVanhal, cites his mother’s maiden name as Marie Solzova. Weinmann, in WeinmannWanhalCat I, p vi, notes that Wanhal’s Sterbeprotokoll indicates that Wanhal’s sister, Peregrina and her four children Johann, Joseph, Anastasia, and Josepha, still lived in Nechanice at the time of his death.
27 WeinmannWanhalCat vi, "Hieher ‘emigrieren’ konnte man freilich nicht, da es nicht Ausland war." One could not really emigrate here, because it was not a foreign country.
28 WeinmannWanhalCat, viii. "Wohl änderte er in Wien dessen Anfangsbuchstaben V in W, allerdings nur aus phonetischen Gründen, da man ja in seiner Heimat das V immer wie W ausspricht. Doch das Weichheitszeichen über dem entsprechenden Buchstaben behielt er in den Erstausgaben seines Wiener Hauptverlegers Ignaz Sauer immer strenge bei, in diesen Drucken findet es sich getreulich als ein Punkt gegeben, eben in der Form: Wanhal. A similar explanation was given in a letter I received from Milan Poštolka, dated Oct. 30, 1985.
29 The need was recognized by his family who, according to both Dlabacž and A-a, sent him to Marscherdorf where he could learn the German language.
30 See Tomoslav Volek’s article "Tschechoslowakei" in MGG XIII, col. 882-8. Wanhal’s emigration from Bohemia and his subsequent "germanization" is seen as a normal occurrence during the period from 1740-1800. Vienna, which was considered the favored goal for talented musicians, even came to be laughingly called "die grösste böhmische Stadt" (the largest Bohemian city) by its citizens.
31 Evidence of Wanhal’s continuing ties to his parents is shown by the two requiems which he wrote to their memory, as reported by Dlabacž in his catalog.
32 e.g., the composers Johann Stamitz, Georg Benda, and Christoph Willibald Gluck and a host of performers.
33 The Countess Schaffgotsch was, nonetheless, apparently his real patron.
34 The records of the Viennese branch of the family Schaffgotsch are either lost or irretrievably buried. The Schaffgotsch connection is clarified, however, by the article "Freire de Andrade" in Enciclopédia Portugesa VII, 833. It tells that he was the son of Ambrósio Freire de Andrade who was Minister Plenipotentiary from Portugal to Vienna, Austria and was married to the Countess Schaffgotsch who was from one of the most illustrious families of Bohemia. ( ". . . então embaixador de Portugal em Viena de Áustria, e da condessa Schafgoche, de una ilustre família da Boémia.") A castle at Niederleis in present-day Lower Austria is still occupied by one branch of the family and might have been the eventual goal of their journey that brought Wanhal to Vienna in 1760. The present day descendents who live there have reported in personal discussion that they do not know if any of their family records exist.
35 Fišer cites a church register in the town of Hnĕvčeves which shows Wanhal’s participation until 1761.
36 MorrowConcertLife confirms the difficulty of finding detailed information about musical performances in Vienna for the period between 1760-80. Her lists include no references to performances by Wanhal or to his music.
37 The discussion in MorrowConcertLife suggests that the Erdödy family was very much a part of upper level Viennese society. Wanhal very likely visited the estate of Johann Nepomuk Erdödy in Pressburg, but Count Ladislaus Erdödy was Wanhal’s patron. (See SeifertErdödyII, 191-95). Baron (Freiherr?) Riesch’s name is not included in the lists of upper nobility. His identity is somewhat obscured by the two different titles, Baron and Freiherr, applied by A-a and Dlabacž. He was, nevertheless, among those who were striving to make a place for themselves in the top echelon of society. See KroneWanhal.
38 The Wanhal-Ditters connection in 1762-3 is directly established by Ditters’ identification of Wanhal as ". . . ein Zögling von mir . . ." DittersdorfLebensbeschreibung, 191. Indirectly it is established by Phillip Gumpenhuber’s Répertoires and its list of the orchestra personnel for a performance of Gluck’s Orfeo at Schönbrunn on July 31, 1763. It includes "Wanhal" among the first violins, several chairs below Ditters—a likely and logical result of a newly formed alliance by Wanhal. See HeartzViennese, 437 and 453.
39 The title page of a sonata by Wanhal "dedicata al Signor Baron Wolfgangus Riesch," published by Eder in 1810, affirms that the dedication is to the Baron Issak Wolfgang Riesch cited in WurzbachBiogLex, vol. 26, and that there was a cordial relationship between Wanhal and Baron Riesch even though Wanhal did not fulfill his obligation to the Baron when he returned from Italy in 1771. See WeinmannWanhalCat II, 7 and KroneWanhal.
40 See discussion in KroneWanhal.
41 The idea that he was a kind of eighteenth-century Faninal is hard to resist.
42 Their close relationship is certain since they returned together from Italy so that Gassmann could take part in a performance of his La Contessina at Mährisch-Neustadt on 3 September 1771.
43 He was away from Vienna the better part of two years, as indicated by the performance of Gassmann’s opera that took place in September 1771.
44 BurneyPresentStateGermanyNethUP I, 46.
45 Ibid, 46.
46 "bigotte Schwärmerey. . . Geistes Verwirrung . . . Manie . . . sonderbarsten Visionen . . . Kleider zu zerreissen . . . Haar abschneiden . . . ."
47 The number of smug, self-serving remarks Burney makes during the short article about his visit with Wanhal is remarkable.
48 More detailed information and also speculation about Huberty and his career may be found in Appendix E of BryanWanhal.
49 See the discussion of that collection in Essay no. 3 of Chapter 3 of BryanWanhal where these symphonies are identified as Gr. 6a (II.A), 6b (II.B), 7 (III.A) and 8 (III.B).
50 Each of the first opus-type group of six was also published separately as a Periodical Overture by Bremner.
51 See Manuscript Materials of BryanWanhal for a summary of the items in the Varaždin collection and UrsulinCloster in Bibliography.
52 The work is unique because it is an autograph set of parts, has only one movement, and is for strings alone. See the citation for C28 in the thematic catalog and the discussion in Appendix D of BryanWanhal.
53 It shows that the collection of instruments (which did not include oboes) from the possessions of Count Ladislaus Erdödy auctioned on 12. August 1788 in Vienna, was, in fact, from the same little orchestra in the convent at Varaždin. See SeifertErdödyI, 152.
54 See the discussion of the Synphonia; it is numbered C28 in the thematic catalog in BryanWanhal.
55 See ŠabanErdödy, 144.
56 DeutscheChronik I, 424.
57 See DewitzVanhal, 29. Dewitz' quotation might have come from another source; I have not been able to find it in the Deutsche Chronik source cited.
58 JunkerZwanzigComponisten, 102: "Ehedem war Vanhalls Imagination zum Überschnappen geneigt—da war der Charakter seiner Stücke naivetät, Fluss, Melodie, Leichtigkeit—jetzt ist sein Gemüt still und ruhig, seine Stücke schaal und gemein." This article was issued anonymously in 1792; see JunkerZwanzigKomponisten in the bibliography.
59 ForkelBibliotek, 243 "Der Charakter seiner erstern Stücke ist Naivetät, Fluss, Melodie, Leichtigkeit;—seiner letztern, Aengstlichkeit, Steifigket, und Mangel an Melodie." The attack on Burney occurs during Forkels review of the latter's General History. He expresses outrage at Burney's criticism of Wahal's "überschnappende Imagination," (a phrase taken from the German translation (seine Imagination zum Überschnappen geneigt war). in BurneyTagebuch, p 264). The response might have been more of an attack on Junker personally (as well as on Burney), than a defense of Wanhal.
60 HadamowskyTheater, p 11 cites from the pay records of the Burgtheater for the season 1776-77: "Suckowaty Wenzl, für copierte 6 Sinfonien von Gassman, 12 di von Asplmair, und 2 von Wanhal." Another similar report cited in ZaslawMozartSymphonies, 101, that Wenzel Pichl was paid for copying "two [symphonies] by Vanhal" along with a number of others for the Hofburg theater in Vienna during the period 1. April 1774 to 28. Feb. 1775 refers to ZechmeisterWienerTheater, 372. Zechmeister is supposed to have cited from the pay records of the Hofburgtheater, but Wanhal's name is not included among the composers he cites.
61 See CramerMagazin I, 92 and the entry from 1783 contained in the following list of chronological references.
62 See FukačDlabacž, where Fukač points out that most of Dlabacž’s entries are remarkably up-to-date.
63 NicolaiBeschreibung IV, 541. "Ich hörte in Wien Haydns und Vanhalls Symphonien ebenso, wie ich in Berlin gehört hatte."
64 EngländerDresden, 103, Wanhal and Haydn symphonies played as part of worship services in the Hofkirche after 1780.
65 CramerMagazin I, 92. "Trois Sinfonies à grand Orchestre composées par Mr. G. Vanhall. Oeuvre 10. Chez J. J. Hummel à Berlin et Amsterdam." "Diese 3 Symphonien zeichnen sich vor Andern bis jetzt gestochenen Symphonien dieses sonst so bekannten und berühmten Mannes vorzüglich aus, und sind voll guter Gedanken und einer gewählten Begleitung. Sie kommen den neuesten Haydenschen Symphonien ziemlich gleich . . . Möchte Herr Vanhall bey herannehmendem Alter durch die Abnahme seiner Kräfte nicht verhindert werden mehrere solche Symphonien zu geben die uns um so willkommer seyn werden, je verwöhnter wir durch die reizenden Haydenschen geworden sind."
66 Quoted in LandonHaydnChronicle II, 477.
67 SchubartIdeen, 232-33. "Vanhall ist unter den neuesten Tonsetzern unstreitig einer der edelsten und besten. Er hat den Satz gründlich studiert, besitzt eigene Manier, und einem Geschmack, der sich jedem Hörer empfiehlt. Da er solide Harmonie, und liebliche Melodie mit so vieler Klugheit und Einsicht zu vermischen wusste; so ists kein Wunder, dass er von Deutschen und Welschen gleich günstig aufgenommen wurde. Er hat vieles geschrieben, manches in Galanteriestyle; und immer folgte ihm der Beyfall der Kunstverständigen."
68 ForsterTagebücher, 181. ". . . Um 10 1/2 [Uhr} mit L[ichnowsky] in die Stadt zur Sonnenfels. Daselbst Graf Nostitz, Graf Wrbna und Vanhal . . . Um 11 1/2 geht S[onnenfels] mit ihr und Vanhall ab nach Böhmen . . . " Thus Wanhal is seen in the midst of Viennese nobility. This is the only reference I have seen to Wanhal’s returning to or maintaining any connection with his homeland in Bohemia. Could he have undertaken the trip because of the death of one of his parents for whom he composed the requiems reported by Dlabacž?
69 Ibid, xxxvi. [written sometime between April and November 1784] This is one of the latest references that at least suggests that Wanhal was performing as a violinist.
70 See Breitkopf250Jahre, 8.
71 SheringMusikLeipzigs III, 603.
72 SonneckEarlyConcert, 81. Sonneck’s list of about thirty performances of Wanhal's music includes symphonies, overtures, and quartets; they were played throughout the colonies including in New York, Charleston, and New England. Records of the Moravian settlements, especially in Salem, and Nazareth show that Wanhal's music was well known in the New World.
73 KellyReminiscences I, 222. This concert was probably given on December 22 and 23 by the Tonkünstler Society. See MorrowConcert Life, 269.
74 BurneyGenHistory IV, 599.
75 Ibid, IV, 591.
76 On the title page of Three Trios by Haydn, published by John Bland in 1790. See Prints and Publishers’ Catalogs in Chap. 3.
77 EngländerDresden, 27.
78 Advertised in The Cambridge Chronicle and Journal for Saturday, November 26, 1791. See DeutschHaydnCambridge, 312-14.
79 CzernyWanhall, 302.
80 GerberLex II, 767 " . . . sein einziges Bestreben ist, dem grossen Haufen zu gefallen . . . ."
81 WienerSchriftsteller, 147 "Ein sehr geschmackvoller und berühmter Tonsetzer. Alles, was er seit vielen Jahren sowohl als geistlicher als anderer Musik geliefert, ist meisterhaft and zeigt den Mann von Kenntnis und Uebung. Seine Messen und seine Kirchenmusik überhaupt zeichnet sich besonders aus und trifft Ohr und Herz. Schade dass dieser Künstler nicht fortfährt, uns fernere Beweise seines Talentes zu geben; denn es ist nun schon lange, dass von ihm nichts Neues erschien."
82 WeinmannTraeg II, 43.
83 See BroylesMusicBoston, 319 based on ClappBostonRecord, 20.
84 DlabacžMaterialienWanhall, "Wanhall, Johann ein berühmter Tonkünstler aus Nechanitz in Böhmen gebürtig, der sich dermalen zu Wien aufhält. Von ihm sind viele Messen, Arien, Offertorien, Sinfonien u.s.w. bekannt, die seinen Namen unsterblich machen. S. Gerber."
85 WeinmannTraeg II, 54 and 56 resp.
86 See JahrbuchWienPrag, 64. "Vanhal, einer unserer ältesten Komponisten, welcher aber, wie es scheint, dermalen bei uns aus der Mode kömmt. Nicht so verhält es sich im Auslande, wo man noch immer seine Werke sehr hoch schätzt. Er hat ausserordentlich viel, und zwar für die meisten Instrumente geschrieben. Allein, seit geraumer Zeit ist nichts neues von ihm erschienen, und man sollte denken, dass er sich selbst der Vergessenheit übergeben wolle.
87 GaleazziTeoricoPratici, 21, quoted by Bathia Churgin in JAMS XXI, 2, summer 1968, 184.
88 GerningReise, 78.
89 EngländerDresden, 33.
90 WeinmannKož, 17, 24 and WeinmannKožSuppl, 94.
91 EngländerDresden, 33.
92 WeinmannKož, 26.
93 MorrowConcertLife, 9.
94 CzernyReflections, 312.
95 GerberNLex, col. 767-8.
96 AMZ, XVI, 37-41.
97 The exact date when the supplemental articles were issued is not specified by the editor. The Berichtungen und Zusätze zum ganzen Werke is included in Othmar Wessely’s edition. See GerberAdd, col 836-9.
98Ibid, 838: "Zwar litt sein Verstand nicht gänzlich . . . ."
99Ibid, 839. "Erst ein halbes Jahr nach dessen Tod ist es Hrn. Hofr. Rochlitz möglich gewesen, uns diese ausführlichen Nachrichten durch die Musikalische Zeitung mitzutheilen; und doch gehörte dieser unbekannt gebliebene Wanhal viele Jahre unstreitig zu den Lieblingskomponisten des Publikums!—So lassen sich die Gäste an einer wohlbesetzsten Tafel die auf einander folgenden Gerichte wohl schmecken, ohne sich im geringsten um den Koch zu bekümmern, der ihnen alle diese Leckereyen mühevoll zubereitet hat. Unbekümmertes, glückliches Publikum!—Armer Künstler!
100MorrowConcertLife reports only two performances of Wanhal’s music in Viennese concerts or salons. Both are from his final period. Neither tells of his presence, and one is so vague as to be useless for this survey.
101The JahrbuchWienPrag of 1796 states: "Whether it is a cooling of the love of music [Kunst], or a lack of taste, of frugality, or other causes, in short, to the detriment of art, this praiseworthy custom has been lost, and one orchestra [Kapelle] after another is disappearing until, except for that of Prince Schwarzenberg, almost none are in existence. Prince Grassalkowitz has reduced his orchestra to a wind band with the great clarinettist Griessbacher as director. Baron von Braun keeps his own band for table music." (Translation from MorrowConcertLife, 1).
102 An orchestral version is in the archive of the L. Cherubini library of Florence Conservatory (I-Fl, no. 102, D-5.121). Its provenance cannot be identified, but it must have had a Viennese connection. See MorrowConcertLife, 300, for discussion of battle ("Schlacht") music in Vienna.
103 WeinmannTraeg, 27 cites Traeg’s advertisement in WZ no. 67 of 22 August 1789 for "Die Schlacht bey Foeksan vom 31. Juni 1789" for clavier by an unidentified composer. It appears under Musicalien and was, therefore, a manuscript copy.
104 MorrowConcertLife, 177.
105 See WeinmannSauer. Sauer is described as a hard working and imaginative man who struggled constantly, in a variety of enterprises, to eke out a living.
106WeinmannEder, 11. Advertised in WZ no. 12, Sept. 2, 1799. The rift created between them may even have caused their partnership to dissolve.
107 MorrowConcertLife, 300. Weinmann’s list in WeinmannEder does not show that he actually found a copy of Eder's "Nelsons grosse Seeschlacht . . ." corresponding with Sauer’s edition (whose title page is reproduced in Weinmann’s article "Sauer" in NG). An orchestral version is in the archive at A-Gr: [Bibl. des Steirmark Landeskons., Lannoy Coll. no.40.892].
108 The "Trauergesang bei dem Tode Josephs des II., für eine Stimme mit begleitung des Klaviers. Wien bei Artaria und Kompagnie." (1790). The title was very carefully spelled out by Dlabacž in his catalog which shows that he and Wanhal both considered it a serious and important work.
109 The only similarly named piece published by Sauer was Wanhal's Zwergelsonaten.
110 Gerber’s assertion that Wanhal’s first symphonies became known about 1767 shows that he must have talked with Burney during the latter’s visit to Leipzig in 1772. Burney does not report that in his travel books; but in his article "VANHALL, John" in the Cyclopaedia of 1819 he refers to Vanhall’s "symphonies which were composed in 1767, and soon circulated in MS. all over Europe." I am most grateful to Kerry Grant for drawing my attention to this article.
111 Rochlitz, AMZ, no. 3. (Jan. 19, 1814).
112 The similar construction of their two articles might indicate that A-a [=Franz Sartori?] was the AMZ reporter in Vienna. See MorrowConcertLife, 211-12 for discussion about the AMZ at the time.
113 Johann Georg Meusel’s Teusches Künstlerlexikon, 2nd edition (1809), 477-8, refers to "Vanhall, auch Wanhall" as court musician and virtuoso flutist ("Kaiser.königl. Hofmusiker und Virtuose . . . zu Wien (nach andern privates... er daselbst"). Another contemporary report is found in the daily records for May 25, 1778 of Einsiedeln monastery where P.Othmar Rüepp wrote that "Herr Vanhall" performed on the flute to the astonishment of all and that he must be one of the best in the world. He further told that Vanhall was a good composer who had written a work for 100 instruments, which included canons and harps, to celebrate the birthday of the "Grossfürsten in Moscau." ["25. hatten wir hier den virtuosen Musikanten Herr Vanhall allhier, der sich auf der Flöte zum allgemeinen Erstaunen hören liess; soll in dieser Art von den berühmtesten in der Welt sein. Er ist auch ein guter Componist, der auf die Geburt des Grossfürsten in Moscau zu Petersburg eine Musik von etlich 100 Instrumenten mit darunter spielenden Kanonen und Harpfen verfergtigt und fährt an allen Höfen Europas herum; jetzt geht er auf Pisa in Italien. Allein lieber ein guter Professionist als dergleichen vagiertende Musicanten". (Text graciously provided by P. Lukas Helg.)
114 SchubartIdeen, 253.
115 MorrowConcertLife, 47.
116 Information supplied by Christoph Mylius, Matrikenführer of the Dom- u. Metropolitanpfarramt St. Stephan, Wien I, June 1, 1989.
117 These too appear to have been aimed at a practical market, at parish churches rather than Stephansdom or the larger churches in metropolitan Vienna. The larger church works in manuscript form have not been dated or studied, but my score of the Stabat Mater, a work Dlabacž knew and called "Ein grosses u. schönes Werk" proves that he was correct. Written for solo soprano and alto with orchestra, in the tonality of F minor, it contains 16 movements in various styles including arioso, aria, and fugal sections. The composition was probably created sometime in the mid-1780s, but Dlabacž’s reference provides the only concrete dating (i.e., pre-1795) I have seen for this work. Bruce MacIntyre’s article which was received just before BryanWanhal was completed contains a list of masses with commentary that strongly supports my belief regarding the quantity and high quality of Wanhal’s sacred music. (See MacIntyreVanhalPastoralMass.) A thorough examination of Wanhal’s sacred music will doubtless yield many fine works worthy to be performed in churches and concert halls.
118 Dlabacž seems to have made his list in two stages. The first eleven items are general categories (such as "100 Simphonien) during the time he was in Vienna and in regular contact with Wanhal. The second and much longer listing is devoted to the printed works that Dlabacž knew about. It was made much later, probably as he was completing his Lexikon for publication in 1815. It was compiled from the catalogs of publishers (Artaria, André, etc.) and book dealers such as Walthers (a dealer in Prague) "Catalogus der Bücher für den St. WenceslaiMarkt in Prag. 1797." The inventory listed in Sauer’s Nachlass was doubtless made in Wanhal's apartment after his death. Some of the itemization is clear such as nos. 151-183: "30 Sinfonien . . . appraised @ 5 fl. 20 x. But others, like the thirteen packages of unspecified works, e.g., no. 229: "älterer Kompositionen für verschiedenen Instrumente" cannot be included in the summary catalog.
119 Lyle Merriman, "Early Clarinet Sonatas." in The Instrumentalist XXI, no. 9 (1967), 28.
120 A modern edition has been published by Edition Kunzelman, Zurich, 1985
121 "Er brach dir der Knechschaft Kette für den Leib und Geist entzwey . . ."
122 LandonHaydnChronicle II, 380 ff.
123 "Vanhalls frühe und Haydns frühe Sinfonien haben formal gar keine Ähnlichkeit. Nach scholastischen Wendungen bei den ersten Gehversuchen entwickelt sich bei Vanhall rasch die erwähnte Wiener Note, dann erst formt er die Ideen zu gröserer Spannweite. Zuerst breitet sich eine Menge der frischesten Gedanken aus, die er kaum im sinfonischen Satz unterzubringen weiss, aber in der 70er Jahren gehört er schon zu den tatkräftigen Foerderen einer längeren, mehr sinfonischen Entwicklung und vermag seine Themen in die Weite zu spannen. Haydns Weg ist der umgekehrte. Er bildet zuerst die Form aus, dann macht er sie mit dem wienerischen Elan zugkräftig. See SondheimerTheorie, 90.
124 LandonHaydnChronicle II, 381 ff. It is ironic that the Symphony in A major, cited on p 381 as an example which shows Wanhal’s copying or imitating Haydn, is in fact an authentic work of Ditters[dorf] (no. A20 in GraveDittersdorf). See the citation under A8 in the thematic catalog (Chapter 5) of BryanWahal.
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