Sinfonia in C

The symphonies of Johann Baptist Wanhal (1739-1813), one of the most prolific and important of Haydn’s Viennese contemporaries, are among the most important works of their kind from the late-18th century. Bold and imaginative, powerful and lyrical, Wanhal’s symphonies are only now beginning to win wider recognition as the masterpieces they are. The Sinfonia C1, composed between 1763-1765, was one of Vanhal’s best known symphonies. The reasons for its popularity are not difficult to surmise. It is brightly and effectively orchestrated and at times Wanhal even uses the wind choir independently of the strings to produce the full sound of the modern orchestra. The first movement, with its constant and resourceful employment of the opening motive, reveals Wanhal’s early interest in composing highly-organized music in the modern symphonic style. The remarkable second-movement Andante is canonic throughout with most of the action occurring between the first and second violins. An interesting feature is that the points of imitation constantly change in diminution from three to two bars, to one bar, to 1/2 + 1/2 bar, and finally to a unison=octave. The Trio, played by the strings, also has something special to offer; a rather long chorale-like melody with irregular phrases that looks as though it might be a chant melody rather like those occasionally employed by Haydn. If so, the source of the non-modal melody has not yet been identified. The finale is serious; playful but not tuneful because of the fragmentary nature of the melodic material. As it scampers to its conclusion, however, one realizes that it is the perfect complement to the slow second movement and the chorale-style of the Trio.