Johann Baptist Wanhal (1739 - 1813)

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Johann Baptist Wanhal (May 12, 1739–August 20, 1813), also spelled Waṅhal (the spelling the composer himself and at least one of his publishers used), Wanhall, Vanhal and Van Hall (the modern Czech form Jan Křtitel Vaňhal was erroneously introduced in the 20th century), was an important classical music composer. He was born in Nechanice, Bohemia, and died in Vienna.

Wanhal had to be a prolific writer to meet the demands made upon him, and attributed to him are 100 quartets, at least 73 symphonies, 95 sacred works, and a large number of instrumental and vocal works. The symphonies, in particular, have been committed increasingly often to compact disc in recent times, and the best of them are comparable with many of Haydn's. Many of Wanhal's symphonies are in minor keys and are considered highly influential to the 'Sturm und Drang' movement of his time. '[Wanhal] makes use of repeated semiquavers, pounding quavers in the bass line, wide skips in the themes, sudden pauses (fermatas), silences, exaggerated dynamic marks ... and all these features ... appear in Mozart's first large-scale Sturm und Drang symphony, no. 25 in g minor (K. 183) of 1773.'[7] This kind of style also appears in Joseph Haydn's Symphony No. 83 in g minor, The Hen (1785), and Muzio Clementi's Sonata in g minor, Op.34, No.2 (circa 1795).

Johann Baptist Wanhal: Sonata for Flute and Bass, Op. 10 N. 1: Highlights from the 4 movements: Allegro-Adagio-Presto-Minuetto and Variations.
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Around 1780 Wanhal seems to have stopped writing large-scale instrumental music, and rather contented himself with writing piano music for the growing middle class, and church music. In the former category his programmatic pieces, often related to recent events such as 'the Battle of Würzburg', 'the Battle of Abukir', and 'the Return of Francis II in 1809'. Judging from the number of extant manuscripts available, these works must have been highly popular. Wanhal was also the most prolific writer of Masses and other Catholic church music of his generation in Vienna. Despite this, it appears that he was never in the employ of any religious institution. This means that his late Masses are both testaments to a genuine personal faith, and evidence of how lucrative his focus on incidental piano music must have been.
Robert O. Gjerdingen sees a change in Wanhal's style as he redirected his attention towards the middle class, his music becoming didactic in the sense that it employed musical figures in a clear and self-referential manner, rather than the seamless continuity from figure to figure that had characterized his earlier pieces. In this, Gjerdingen sees Wanhal as prefiguring Beethoven.
Such was his success that within a few years of his symphonies being written, they were being performed around the world, and as far distant as the United States. In later life, however, he rarely moved from Vienna where he was also an active teacher. (Hide extended text) ... (Read all)
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