Organ School (Swedish). Stockholm, 17ST.
Choral System. Copenhagen, 1800.
Data zur Akustik. Offenbach, 1800.
Handbuch zur Harmonie Lehre, und General-Bass. Prague. 1802.1
Aeusserung ttber Hrn. Knechf s Ilarmonik. Prague, 1802.
ErkUirung der Buchstaben die in Grundrtss der . . . neu zu erbau- enden 8. Peter's Orgel in Mttnchen vorkommen. Munich, 1806.
Vergleichungsplan der vorigen mlt der nun umgeschaffenen Orgel In Hofbethause zu Manchen. Munich, 1807.
Ueber die harmonische Akustik. Munich, Offenbach, 1807.
Grundliche Anleitung zum Clavierstimmen. Stuttgart, Vienna, 1807.
Deutsche Kirchenmusik die Tor SO Jahren zu 4 Singstlmmen und der Orgel herauskamen, und mit einer modernen Instrumentalbe- g'.eitung berelchert. Munich, 1807.
System fur den Fugenbau. Offenbach, 1811.2
Ueber Chorale und Kirchengesfinge. Ein Beit rag rurGeschichteder Tonkunst In 19th Jahrhundert. Munich, 1814.
To this class of works the following may also be fitly assigned :
Verbesserung der Forkelschen VerSnderungen (of ' God save the King'?), 1793.
82 Preludes for Organ In every key, with an analysis. Munich, 1806.
12 Chorales of J. 8. Bach (arranged by Vogler and analysed by C. M. T.Weber). Leipzig. about 1810.
Amongst Vogler's contributions to current musical literature may he noticed, besides those which were reprinted separately, and have been already mentioned :
Several short notices to the Wetzlarlschen Conzertanzeigen (1779- 1780).
Von der Musik In Frankrelch, in Kramer's Magazin der Musik.
Antwort auf verschiedene sein Sistem betreffende Fragen in Musik. Korrespondenz No. 2. 1790.
Bemerkungen fiber die der Musflc vortheilhafteste Bauart eines Musikchor. in Journal TOD und fur Deutschland, No. 2. 1792.
The following treatise not improbably belongs to this class :
Aesthetisch-kritlsche Zergllederung des wesentlich vierstimmigen Singesatzes des vom Knecht in Musik gesetzeu ersten Psalms.
Lichtenthal also ascribes to Vogler the article ' Ueber den Choralgesang der Bohmischen Kirche zu Johann Hussens Zeiten,' in the A.M.Z. for April 6, 1803.
Die Scala Oder personificirte Stimmbildungs- und Slngkunst, for Soprano Solo, Chorus, and Orchestra.*
Der Rheinubergang der Allilrten am Neujahrstag, 1814. Cantata with accompaniment for full Orchestra.
Teutonia oder Kriegslied, 1814, with Orch. ace.
Trichordium und Trias Harmonica oder Lob der Harmonic.*
Frohe Empflndungen bei der Zuruckkunft eines Vlelgeliebten. Chorus, witb Orch. ace.
Wielands Grab, gedichtet von Ch. Westphalen. Chorus for 4 voices.
Empfindungen en des Hessen an 14 Juni. Chorus for 4 voices.
Der Altarberg. For 4 voices, with PF. ace.
Sangstycke for d. 19 Augusti. Drottingholm, 1786.
L'Invocazione del Sole alia mezza notte in Laponia."
Friedenslied, (about 1807) Der schone Morgen ; Die voile Mends- nacht. Two songs with PF. accompaniment.
Hessischer Krlegertraum. Song with PF. accompaniment.*
Declamatorium ' ' Tuiskon 1st erwacht.T
As much of what is stated in this article is novel, it may be well to specify the sources from
��l A translation from the Swedish.
FcStis declares that this work was not published till after the author's death. The preface, however, is dated * Darmstadt, 1811.' [For the Incident in which It originated see MEYERBEEB, vol. il. p. 321 a.]
a The analysis prefixed to this work, after stating that it was finished at Darmstadt on August 25, 1810, declares that the author had in 1777 offered a prize of 100 Louis d'or for the discovery of a device by which 4 voices should each sing a scale up and down in only 16 chords, and that no one had been able to find out the secret. The solution given in ' Die Scala ' is certainly ingenious.
4 A cantata for Voices and Full Orchestra to words by Professor Melssner. Rousseau's air of three notes is used as the foundation of the whole composition, which extends to eleven numbers. Vogler made use of this air as the theme of a piece of considerable dimen- sions at a concert in Stockholm April 28, 1799, and published it In five real parts in the A. M. Z. for June 12 In the same year.
5 A terzetto published In the A. M. Z. for June 12, 1799.
The publisher's advertisement gives ' Treue* for ' Traum/ 7 This piece, an orchestral accompaniment to a declaimed poem, was probably one of Vogler's last works, as it was brought out at Mannheim early In 1814. The poem was by Madame Bilrger.
��which it has been derived. Besides the ordinary biographical notices in various Dictionaries, which in this case seem to have been written with unusual independence, use has been made of the monograph on Vogler by Th. Nisard (the Abbe* Normand), and of the Life of C. M. v. Weber by his son. The vast mass of information relating to Vogler and his views contained in the * Allge- meine Musik alische Zeitung' has been carefully sifted. Much has been gained from the articles inNos. 15 and 16 of the 'Musikalische Correspon- denz ' for 1790 by Christmann and Schubart. By the kindness of Dr. Gansbacher of Vienna the writer has been able to consult the MS. ' Bio- graphic Gansbacher' in his possession, from which, and from the letters of Vogler belonging to him, many interesting details have been gained. In one of Weber's letters to Gansbacher he states that he was working hard at Vogler's biography, but the result of his work seems to have completely disappeared. Special thanks are due to Herr Becker, Librarian of the Ducal Library at Darm- stadt ; to Baron von Weber ; to Herr Max Friedlander ; to Prof. Schaf hautl of Munich ; to Mr. Walter White, of the Royal Society, and, on the matter of ' the simplification -system ' to the Rev. Sir F. A. G. Ouseley, Bart., to Messrs. Thorold & Smith (successors of Kirtland & Jar- dine), and to Messrs. Brindley & Foster; also to the organist of All Saints', Northampton, for a careful minute on the Schulze organ in that town.
Amongst the curiosities of Vogler literature must be placed Browning's poem on ' Abt Vogler,' and its Greek version in ' Translations into Greek and Latin Verse, by R. C. Jebb, M. A.' [J.H.M.J
VOGT, GUSTAVE, French oboe-player, born at Strassburg, March 18, 1781, studied at the Paris Conservatoire under Sallantin, and took the first oboe-prize in 1799. While in Key's class, he began to play in public, and was ap- pointed oboe-solo at the Opera Italien in 1801, and co-professor at the Conservatoire in 1802. In 1805 he entered the band of the Imperial Guard, was present at Austerlitz, and during the occu- pation of Vienna made the acquaintance of Haydn and Beethoven. After the peace of Tilsit he returned to Paris, and never left it again for any distance. After some time at the Theatre Feydeau, he succeeded his friend and master Sallantin as first oboe at the Ope*ra (1814), and professor at the Conservatoire, where he taught with marked success from Apr. i, 1816, to Nov. I, 1853. His fame spread, and in 1825 the Philharmonic Society invited him to London, and he played in their concerts. His tone was thought to be thin, harsh, and forced, but his execution was astonishing, 1 and he was engaged again in 1828. He was an original member of the Socie'te' des Concerts du Conserva- toire, and played there regularly till his resignation in i844,often producing with success compositions of his own. As first oboe in the Chapelle du Roi from 1815 to 1830 he received the Legion of Honour in 1829. He formed many talented
I ' Harmonicon,' 1825.