Vanhal [Vanhall, Wanhal, Wanhal, Wanhall], Johann Baptist [Jan Ignatius] [Vaňhal, Jan Křtitel]

(b Nechanicz [now Nechanice], nr Hradec Králové, Bohemia, 12 May 1739; d Vienna, 20 Aug 1813). Bohemian composer, violinist and teacher, active in Austria. His present reputation is derived mostly from his symphonies, his many published keyboard pieces and the comments of writers. He himself spelt his name Johann Baptist Wanhal; his Viennese contemporaries and most scholars until World War II used the spelling Wanhal, but later in the 20th century a modern Czech form, Jan Křtitel Vaňhal, was erroneously introduced. Only one writer, Bohumír Dlabač, had extensive contact with him, acquired in 1795 in Vienna. An anonymous Viennese necrology, based mostly on local gossip, is complementary, but differs somewhat from Dlabač’s account. Additional observations based on fleeting contact in Vienna were mostly derived from one or other of these writers or from Charles Burney, who visited Vanhal on 12 September 1772.

1. Life.

2. Works.

WORKS

BIBLIOGRAPHY

PAUL R. BRYAN

Vanhal, Johann Baptist

1. Life.

Although there is indirect evidence that his father’s ancestors may have originated in the Netherlands, both of Vanhal’s parents’ families (Vaňhal and Volešovský) had lived in Bohemia for several generations. He was bonded to Count Schaffgotsch, in whose estates his family lived. During his early years in Nechanicz he was trained to sing and to play string and wind instruments; he also went to the nearby town of Marscherdorf to learn German and other subjects. His favourite teacher, Anton Erban, taught him to play the organ, and at the age of 13 he became organist in Opocžna (Opocžno). He later became choir director in Niemcžowes (Nemyčeves) in the province of Jicin, where Mathias Nowák trained him to be a virtuoso violinist and to write concertos.

In 1760–61 Vanhal moved to Vienna. He lived there until May 1769, entering ‘the most imposing circles’ (DlabacžKL) and giving instrumental and singing lessons; among his keyboard pupils was Ignace Pleyel. His income enabled him to purchase his freedom from bondage; he apparently returned to Bohemia only once, on the death of one of his parents. In 1762–3 he probably received some help from Dittersdorf (then Carl Ditters), who was a member of the imperial theatre orchestra. Dittersdorf later referred to Vanhal as ‘a pupil of mine’, but there is little evidence of his influence in Vanhal’s music. Payment records, however, suggest that Ditters helped by introducing Vanhal to the musical scene as a violinist. An encounter in 1762 with the child Mozart has also been reported. During this period Vanhal established himself as one of the leading composers in Vienna, contributing to the rise of the ‘Viennese style’. He also made contact with the Parisian publisher Huberty, who issued his six Simphonies quatours op.1 in 1769. Baron I.W. Riesch of Dresden offered to finance Vanhal’s musical tour to Italy, so that he could prepare himself to become Kapellmeister of Riesch’s court in Dresden. Reaching Italy in May 1769, Vanhal spent about a year in Venice, then travelled to Bologna, Florence, Rome and elsewhere. He met many prominent composers, including Gassmann (with whom he returned to Vienna) and Gluck. Two operas which he may have written in Rome, Il trionfo di Clelia and Il Demofonte, both to texts by Metastasio, have not been found.

On his return to Vienna in September 1771, he declined the Kapellmeister’s position in Baron Riesch’s orchestra. The often-stated (but mistaken) idea that he was overcome with a debilitating mental disease has its source in Burney’s statement that a ‘little perturbation of [Vanhal’s] faculties’ had caused his compositions to become ‘insipid and shallow’. During the succeeding decade Vanhal paid several visits to the estate of a new patron, Count Ladislaus Erdödy, at Varaždin (now in Croatia), but his home continued to be in Vienna. In response to the changing musical tastes of the Viennese public, he stopped composing symphonies in the late 1770s, and string quartets a few years later, and began to cultivate the unique opportunities offered by the fledgling Viennese music publishing industry to control the character and dispersal of his works; Viennese publishers subsequently issued more than 270 prints of his music.

The first of Vanhal’s Viennese publications (six violin duos op.28, issued by Artaria) appeared in 1780. Foreign publishers such as André, the Hummels and English firms such as John Bland and Robert Bremner had already copied his compositions from earlier French publications. The focus of Vanhal’s composing now shifted away from the nobility and more towards the public and, increasingly, the church. For the former he continued to compose serious music, such as concertos and the seven-movement cantata Trauergesang bey dem Tode Ioseph des Zweiten, a remarkably intense work published by Artaria in 1790, but he concentrated principally on music for and with keyboard, of which he wrote a wide variety. Most of Vanhal’s church music remained unpublished, and little is known about its background other than the names of the churches and monasteries that appear on the title-pages. He was unmarried and left no heirs; when he died, in an apartment near the Stephansdom, he had obviously been living in modest but comfortable circumstances.

Vanhal’s career was strongly influenced by his character. Dlabač, in addition to recounting the pleasing social qualities that gained him quick access to Viennese noble circles called him ‘a zealous Christian’. It can also be seen that, although he was hard-working, conscientious, pragmatic and determined, he was not personally ambitious. He must have been a fine performer, but, other than that he was listed as a first violinist in a performance of Gluck’s Orfeo in 1763 and that in 1784 he played (perhaps the cello) in a quartet with Haydn, Dittersdorf and Mozart, little is known about his ability. He was not related to a travelling virtuoso flautist known as Vanhal.

Vanhal, Johann Baptist

2. Works.

In spite of the appearance in 1988 of a new thematic catalogue, the total number of Vanhal’s compositions can be only roughly estimated. His earliest works, written in Bohemia during the two decades before he came to Vienna, are lost. In Vienna he turned his attention to the new genres of symphony and chamber music (especially quartets and trios). For the symphonies, only one autograph survives (for C28, an atypical one-movement ‘symphonie’, HR-Vu), but there is credible evidence that a further 76 of the normal symphonies attributed to him can probably be considered authentic, and that they can be divided chronologically into ten groups, which reveal the basic changes in his style during the years between about 1760 and 1780. The 34 symphonies that Vanhal wrote before going to Italy reveal the evolution in his concept of the symphony. The first two are, exceptionally, three-movement overtures – active, busy and almost entirely forte. The remainder have four movements (normally fast–slow–minuet–fast). The earliest works show their Baroque heritage in their use of fugal and canonic movements and passages, a slow French overture-type first movement, dance-derived finales, concerto grosso textures and motivic construction based on the opening theme. During this period, Vanhal began to use minor keys and the so-called Sturm und Drang style; he also made increasing use of incipient sonata form (with discernible development sections), and of cantabile thematic material.

It is impossible to assess the effects of Vanhal’s stay in Italy upon his style. But there is less experimentation in the symphonies that he produced after his return. They feature distinct sonata form movements with full-size cantabile themes, and opening thematic material may be re-used both within a movement and in a subsequent one. Some are in minor keys, though not in characteristic Sturm und Drang style. Vanhal’s attempt to widen the range of timbres is seen in many small changes; the most dramatic is his apparently pioneering use of three, four and five horns. Compared with the earliest group, all the later symphonies are longer overall as well as in the lengths of the first, second and last movements. Most of their finales are in sonata form. A basic slowing in the tempos of both the slow and the fast movements is discernible in these symphonies.

Similar structural developments are found in Vanhal’s other instrumental works from the same period, such as the string quartets and the concertos. D.W. Jones’s study (1978) of 53 ‘authenticated’ string quartets (out of 94 that Weinmann (1988) attributed to Vanhal) points also to important differences from the symphonies, especially in the treatment of the first violin, which is treated as a virtuoso solo instrument. Other unusual features include the fugal-style finale of C9, one of his last quartets and written-out cadenzas for all four instruments in ten others. The normal order of movements (fast–minuet–slow–fast) also differs from that in the symphonies. Jones points to Vanhal as second only to Haydn in the number of quartets he composed, and describes him as the prominent figure in the evolution of the virtuoso string quartets of the early 19th century.

All the 72 keyboard sonatas discussed in M. Dewitz’s study (1933) were composed about 1783 or later, that is, after the symphonies. Most are in three movements (some with slow introductions); the sonata form first movements have clearly contrasted themes (which are harmonically accounted for in the developments) and complete recapitulations. The finales are mostly stylized dances, such as rondos, but nine are in sonata form. Dewitz stresses that the caprices, with their free forms, virtuoso elements and Romantic traits, constitute an important group of Vanhal’s sonata-type compositions and point towards the lyric and Romantic piano pieces of the 19th century. They were well received by the public, both in Vienna and abroad. So too were the many other keyboard pieces, although Vanhal was criticized by several north German writers, especially Gerber, for composing programmatic pieces.

From the studies carried out so far, it is clear that Vanhal was one of the best composers of the time – innovative, imaginative and original. He was also influential, but to what extent is difficult to assess. Haydn was presumably familiar with the ten Vanhal symphonies preserved in the Esterházy collection (H-Bn), but there is more affinity between Vanhal’s style and Mozart’s. Comparisons with other contemporary composers are necessary for an accurate account of Vanhal’s role. However, he unquestionably contributed significantly to music in Europe, and his published music, issued by many publishers, stimulated the public and the entire industry. His career, which led him from bondage to comfortable independence, reflects the influence of Emperor Joseph II and the democratic principles he espoused in Viennese society. Vanhal’s music, in turn, contributed to the development of Viennese musical style.

Vanhal, Johann Baptist

WORKS

provisional list; categories and numbering follow Weinmann (1988) except where otherwise stated; for printed works usually only the first use of an opus number is noted (for fuller list of opus numbers see Bryan, 1977)

principal sources: A-Wgm, Wn; CZ-Bm, K, KRa, Pnm; D-Bsb, Dlb, Rtt, SWl; F-Pn; GB-Lbl; H-Bn; I-Vnm; US-NYp, Wc

Editions: Vanhal: Six Quartets, ed. D.W. Jones (Cardiff, 1980) [J]Jan Křtitel Vaňhal: Five Symphonies, ed. P. Bryan, The Symphony 1720–1840, ser. B, x (New York, 1981) [B]Thematic catalogues: Weinmann (1988) [all categories except symphonies]Bryan (1997) [symphonies]Jones (1978) [string quartets]

i. symphonies

numberings from Bryan (1997)

ii. concertos

only solo instruments listed

iii. divertimentos, cassations, partitas, etc.

iv: quintets and sextets for strings and winds

v. quartets

vi. trios

vii. duets

viii. quintets with keyboard

ix. quartets with keyboard

x. trios with keyboard

xi. keyboard, violin (or viola, flute, etc.) and cello

xii. keyboard four hands

xiii. keyboard solo

sonatas, sonatinas and caprices; for list see Dewitz

xiv. keyboard solo

other works; for list see Dewitz

xv. keyboard variations

for list see Dewitz

xvi. organ and pedagogical works

xvii. occasional compositions

xviii. dance music

xix. masses

xx. smaller church works

xxi. opera

not listed by Weinmann

Vanhal, Johann Baptist

BIBLIOGRAPHY

BurneyGN

BurneyH

ČSHS

DlabacžKL [with list of works]

EitnerQ

GerberL

GerberNL

MGG1 (M. Poštolka) [incl. further bibliography]

NewmanSCE

P.P. : ‘Ein sehr Kahler Auszug einer guten Overture’, Magazin der Musik, ed. C.F. Cramer, i (Hamburg, 1783/R), 933 only [review of arr. of Sym. C6]

C. Ditters von Dittersdorf: Lebensbeschreibung (Leipzig, 1801; Eng. trans., 1896/R1970); ed. N. Miller (Munich, 1967)

C.F.D. Schubart: Ideen zu einer Ästhetik der Tonkunst (Vienna, 1806/R), 232

[?F. Sartori:] ‘Nekrolog auf das Jahr 1812: Johann Wanhall’, Vaterländische Blätter für den österreichischen Kaiserstaat (Vienna, 1813), ii, 476–8

J.B. Wanhal: Inventur u. Schätzung (MS, 1813, A-Wst 2965/813) [inventory and evaluation of Vanhal’s estate; partial transcr. in Dewitz]

M. von Dewitz: Jean Baptiste Vanhal: Leben und Klavierwerke (Munich, 1933) [with non-thematic list of kbd works]

F. Fišer: Jan Vaňhal a jeho varhanní skladby [Vanhal and his organ compositions] (diss., U. of Prague, 1966) [with inc. genealogy and partial thematic catalogue of organ works]

A. Borková: ‘K problematice čeksé emigrace 18. století: J. Vaňhal’ [Czech 18th-century emigration: Vanhal], OM, iii (1971), 285–91

K. Filić: Glazbeni život Varaždina [The musical life of Varaždin] (Varaždin, 1972)

L. Županović: Introduction to Varaždinski skladateljski krug s kraja XVIII. stoljeća, Spomenici hrvatske glazbene prošlosti, iv (Zagreb, 1973), p.xii [incl. Fr. summary]

D.W. Jones: The String Quartets of Vanhal (diss., U. of Wales, 1978)

R. Hickman: Six Bohemian Masters of the String Quartet in the Late Eighteenth Century (diss., U. of California, 1979)

M.M. Fillion: The Accompanied Keyboard Divertimenti of Haydn and his Viennese Contemporaries (c. 1750–1780) (diss., Cornell U., 1982)

B.C. MacIntyre: The Viennese Concerted Mass of the Early Classic Period (Ann Arbor, 1986)

S.R. Floyd: The Clarinet Music of Johann Baptist Vanhal (diss., Michigan State U., 1988)

A. Weinmann, ed.: Themen-Verzeichniss der Kompositionen von Johann Baptiste Wanhal (Vienna, 1988) [catalogue of all Vanhal’s works except syms.]

B. MacIntyre: ‘Johann Baptiste Vanhal and the Pastoral Mass Tradition’, Music in Eighteenth-Century Austria, ed. D.W. Jones (Cambridge, 1996), 112–32

P. Bryan: Johann Wanhal, Viennese Symphonist: his Life, his Symphonies, and his Musical Environment (Stuyvesant, NY, 1997) [incl. analytical studies and thematic catalogue]

O. Krone: ‘Johann Baptist Wanhol (1739–1813) und seine Mäzene’, Concerto, xvi (1999), 25–30