Burney's comments in "The Present State of Music in Germany, the Netherlands, and the United Provinces"
I had sent my servant, and made several attempts myself, to find M. Vanhall before, but in vain. However, today I had been told that he lived without the gates of the city; but, after crossing a branch of the Danube, and walking several miles through a very dusty road, to the place where I expected to find him, I was told that he was removed, no one knew whither: this did not discourage me from enquiring after him all the way back, and, at length, I luckily found him, in a more lofty than splendid situation. I groped my way up a totally dark, winding stone stair-case, at the summit of which was his bower.
He is a civil young man; and though he could speak no French, yet he had a little Italian, which is the case with many German musicians. I told him that I was a stranger, and in quest of whatever was most curious in music; that I heard some of his symphonies performed, which had pleased me very much, and wished to be in possession of a few of them, if he had any ready transcribed, or if knew of a copyist who had.* We soon came to a right understanding, and finding he played the harpsichord, I got him to sit down to a little clavichord, and play to me six lessons which he had just made for that instrument; but I found them neither so wild nor so new as his compositions for violins.
*As there are no music shops in Vienna, the best method of procuring new compositions, is to apply to the copyists; for the authors, regarding every English traveller as a milord, expect a present on these occasions, as considerable for each piece, as if it had been composed on purpose for him.
Though there have been many admirable composers of vocal music, who, for want of voice, could not sing, yet it seems as if it were absolutely necessary to be a great player on an instrument in order to write in such a manner for it, as will best shew its powers. With respect to the organ and harpsichord, the most original and striking pieces for those instruments have been the productions of great performers, such as Handel, Scarlatti, Bach, Schobert, Wagenseil, Müthel, and Alberti: but a rage for universality, or for gain, tempts many composers to quit the road which nature and art have made familiar to them, for another; in which they are either bewildered or so destitute of the necessary requisites for traveling through it, as to be obliged to rob and plunder every one they meet.
A little perturbation of the faculties, is a promising circumstance in a young musician, and M. V. began his career very auspiciously, by being somewhat flighty. Enthusiasm seems absolutely necessary in all the arts, but particularly in music, which so much depends upon fancy and imagination. A cold, sedate, and wary disposition, but ill suits the professor of such an art; however, when enthusiasm is ungovernable, and impels to too frequent and violent efforts, the intellects are endangered. But as insanity in an artist is sometimes nothing more than an ebullition of genius, when that is the case, he may cry out to the physicians who cure him, Pol me occidistis, amici, Non servastis.
M. V. is now so far recovered, and possesses a mind so calm and tranquil, that his last pieces appear to me rather insipid and common, and his former agreeable extravagance seems changed into too great economy of thought.
Charles Burney's comments about Wanhal in the first (1773) edition of his The Present State of Music in Germany, the Netherlands, and the United Provinces. Pages 351-354
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