Organ School (Swedish). Stockholm, 1797.
Choral System. Copenhagen, 1800.
Data zur Akustik. Offenbach, 1800.
Handbuch zur Harmonie Lehre, und General-Bass. Prague. 1802.[1]
Aeusserung über Hrn. Knecht's Harmonik. Prague, 1802.
Erklärung der Buchstaben die in Grundrtss der … neu zu erbauenden S. Peter's Orgel in München vorkommen. Munich, 1806.
Vergleichungsplan der vorigen mit der nun umgeschaffenen Orgel in Hofbethause zu München. Munich, 1807.
Ueber die harmonische Akustik. Munich, Offenbach, 1807.
Grundliche Anleitung zum Clavierstimmen. Stuttgart, Vienna, 1807.
Deutsche Kirchenmusik die vor 30 Jahren zu 4 Singstimmen und der Orgel herauskamen, und mit einer modernen Instrumentalbegleitung bereichert. Munich, 1807.
System fur den Fugenbau. Offenbach, 1811.[2]
Ueber Chorale und Kirchengesänge. 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 Veränderungen (of 'God save the King'?), 1793.
32 Preludes for Organ in every key, with an analysis. Munich, 1806.
12 Chorales of J. S. Bach (arranged by Vogler and analysed by C. M. v. 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 Frankreich, in Kramer's Magazin der Musik.
Antwort auf verschiedene sein Sistem betreffende Fragen in Musik. Korrespondenz No. 2. 1790.
Bemerkungen über die der Musik vortheilhafteste Bauart eines Musikchor, in Journal von und für Deutschland, No. 2. 1792.
The following treatise not improbably belongs to this class:—
Aesthetisch-kritische Zergilederung des wesentlich vierstimmigen Singesatzes des vom Knecht in Musik gesetzen ersten Psalms.
Lichtenthal also ascribes to Vogler the article 'Ueber den Choralgesang der Böhmischen Kirche zu Johann Hussens Zeiten,' in the A.M.Z. for April 6, 1803.
MISCELLANEOUS WORKS.
Die Scala oder personificirte Stimmbildungs- und Slngkunst, for Soprano Solo, Chorus, and Orchestra.[3]
Der Rheinübergang der Alliirten am Neujahrstag, 1814. Cantata with accompaniment for full Orchestra.
Teutonia oder Kriegslied, 1814, with Orch. acc.
Trichordium und Trias Harmonica oder Lob der Harmonie.[4]
Frohe Empfindungen bei der Zurückkunft eines Vielgeliebten. Chorus, with Orch. acc.
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. acc.
Sangstycke för d. 19 Augusti. Drottingholm, 1786.
Sangstücke.
L'Invocazione del Sole alla mezza notte in Laponia.[5]
Friedenslied, (about 1807)—Der schone Morgen; Die volle Mondsnacht. Two songs with PF. accompaniment.
Hessischer Krlegertraum. Song with PF. accompaniment.[6]
'Declamatorium'—'Tuiskon ist erwacht.'[7]
As much of what is stated in this article is novel, it may be well to specify the sources from 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 Abbé 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 'Allgemeine Musikalische Zeitung' has been carefully sifted. Much has been gained from the articles in Nos. 15 and 16 of the 'Musikalische Correspondenz' for 1790 by Christmann and Schubart. By the kindness of Dr. Gänsbacher of Vienna the writer has been able to consult the MS. 'Biographie Gänsbacher' 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 Gänsbacher 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 Darmstadt; to Baron von Weber; to Herr Max Friedlander; to Prof. Schafhäutl of Munich [App. p.813 "add that Prof. Schafhäutl has recently published a monograph on 'Abt Georg Joseph Vogler' (Augsburg, 1888), which supersedes all other works on the subject."]; 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 & Jardine), 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.'
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 Rey's class, he began to play in public, and was appointed oboe-solo at the Opéra 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 occupation 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 Théâtre Feydeau, he succeeded his friend and master Sallantin as first oboe at the Opéra (1814), and professor at the Conservatoire, where he taught with marked success from Apr. 1, 1816, to Nov. 1, 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,[8] and he was engaged again in 1828. He was an original member of the Société des Concerts du Conservatoire, and played there regularly till his resignation in 1844, 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
- ↑ A translation from the Swedish.
- ↑ Fétis 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 Meyerbeer, vol. ii. p. 321a.]
- ↑ 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.
- ↑ A cantata for Voices and Full Orchestra to words by Professor Meissner. 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 dimensions 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.
- ↑ A terzetto published in the A. M. Z. for June 12, 1799.
- ↑ The publisher's advertisement gives 'Treue' for 'Traum.'
- ↑ 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 Bürger.
- ↑ 'Harmonicon,' 1825.
