ABSTRACT
Traditionally Johana Friedrich Fasch has been counted among the "Vivaldians" in the oversimplified and to a certain extent misconceived division into "Corellians" and "Vivaldians" that has dominated the discourse around the German concerto. Wenzel von Morzin's own account book for the period 1724–29, preserved in the State Regional Archive at Zamrsk, Czech Republic, contains two entries that show that the count could continue to call on his services on an occasional basis, doubtless with permission from his new employer. Having acquired Antonio Vivaldi concertos in some quantity, Morzin allowed some of them — presumably in derived copies — to circulate abroad. Northern Italian composers feature strongly in the sections of the inventory devoted to genres such as the concerto and the sonata that were cultivated in Italy. Intriguingiy, there is a hint that three oboe concertos by Vivaldi originating from the count's repertory are included in the inventory — but concealed under Morzin's own name.
