Books › Dictionary of music, 1896 › scan 846
Scan 846
Dictionary of music, 1896
12 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Norma, Elisabeth, Isolde, etc.). After the first performance of Tristan und Isolde at Berlin she received the title of "Königliche Kammer-sängerin." one of two readings
2Norma, Elisabeth, Isolde, etc.). After the first performance of Tristan und Isolde at Berlin she received the title of "Königliche Kammersängerin." one of two readings
4Vogl, (1) Johann Michael, distinguished stage and concert singer (tenor), b. Aug. 10, 1768, Steyr, d. Nov. 19, 1840, Vienna. He went with his friend and fellow-countryman Süssmayer to Vienna, where he studied law, until he was won over to the stage (1794) by Süssmayer, who meanwhile had become court theatre capellmeister. V. followed that career up to 1822. To him belongs the immortal merit of having perceived the high importance of Schubert's songs and made them known to the public; he was on friendly terms with the composer, and frequently, when the latter was composing his songs, tendered practical advice.
6(2) Henrich, the well-known representative of Tristan, b. Jan. 15, 1845, in the Munich suburb Au. He attended the Teachers' College at Freising, and was schoolmaster at Ebersberg (1862-1865), but meanwhile pursued his musical studies, paying special attention to the cultivation of his voice, so that he ventured to sing on trial before the Intendant Schmitt; and this led to his being engaged at the Munich Court Opera. After a few months' serious study of various rôles under the direction of F. Lachner and the manager Jenk, he made a most successful début in Nov., 1865, as Max in Der Freischütz, and since then has belonged, without interruption, to the same theatre. V. is, above all, a Wagner singer, and for a long period was the only Tristan. His wife Therese (née Thoma), b. Nov. 12, 1845, Tutzing on the Starnberg Lake, was a pupil of the Munich Conservatorium (Hauser, Herger), was at first engaged at Carlsruhe (1864), but already in the following year at Munich. In 1868 she married V. Like her husband she is one of the best interpreters of Wagner rôles; her impersonation of Isolde is one of her most astonishing creations.
8Vogler, (1) Johann Caspar, b. May, 1698, Hausen (near Arnstadt), studied under J. S. Bach, at Arnstadt, 1715 organist at Ratibor, 1721 court organist at Weimar. He published "Vermischte Choralgedanken" (1737).
10(2) Georg Joseph ("Abbé" V.), famous alike as organist, theorist, and composer, b. June 15, 1749, Würzburg, d. May 6, 1814, Darmstadt. He was the son of a violin-maker, and was trained at an early age for his musical calling. He went to Mannheim in 1771, wrote some ballet music, and found in the Elector Karl Theodor, a generous patron. The latter placed him under Padre Martini (q.v.) at Bologna, but his teacher's method (strict counterpoint) was so distasteful to V. that, already after a few weeks, he went to Padua to Vallotti (q.v.), and, at the same time, studied theology at the University. Vallotti's system of teaching harmony (root-chords, inversions, etc.) met with the approval of V., but not the master's somewhat mysterious method of communicating it; and again, the lessons lasted only for a short time—in fact, only a couple of months. V. then went to Rome, entered the priesthood there, and was appointed Protonotary and Chamberlain, received the order of the Golden Spur, and became member of the Accademia degli Arcadi. In 1775 he returned to Mannheim, founded a school of music ("Mannheimer Tonschule") in which his own system was taught; he was also appointed to the posts of court chaplain and second capellmeister. V. understood the art of making himself prominent, and soon brought his "Tonschule" into notoriety. Peter v. Winter, Knecht, and other famous musicians, studied under him at Mannheim. In 1779 the court removed to Munich. V., on account of his school, remained in Mannheim, but produced an opera at Munich is 1781. In 1783 he started on his travels, first to Paris, where his opera, La Kermesse, failed miserably, then on to Spain and to the East. In 1786 we meet with him in Stockholm, as royal court conductor and director of a "Tonschule." He only left Sweden in 1799, after he had become entitled to a pension. He had, for the rest, made full use of the leave of absence granted to him, in making known his system of "simplifying" organs. He travelled with a small chamber organ, which he named "Orchestrion," to Denmark, England and Holland, and everywhere attracted attention as a performer on the organ. His system of simplification consisted in setting aside mixtures, also prospect pipes, and the double arrangement of the C. and the C# chest ("C- und Cis-Lade"), so that the pipes stood directly behind the keys belonging to them, and thus rendered complicated stop-action unnecessary. It is certainly remarkable that these ideas of V. were much talked about, and that he received commissions from London, Stockholm, etc., for organs to be re-built on his system; for at the present day little mention is made of that system, although, perhaps, some of the practical hints thrown out by V. are still of service. Vogler's Orchestrion had a crescendo (Venetian swell); also it was a pet scheme of his to employ a pipe of 8-ft. together with a Quint of 5½-ft., which by combination tones gave a 16-ft sound. This idea of V.'s has been retained up to the present day, especially in the combination of a pipe of 16-ft. and one of 10¾-ft. as a substitute for a 32-ft. pipe. In 1807 V. undertook the post of court capellmeister at Darmstadt, and also established a "Tonschule" there, from which sprang two men of note—Carl M. v. Weber and Meyerbeer. V. always knew how to place himself in the best light, and to turn everything to his advantage. His services must not be denied; they consisted principally in waging war against deep-rooted prejudices and old-fashioned rules of art; and in this respect Weber and Meyerbeer, for their many innovations, probably owed much to him. one of two readings
11(2) Georg Joseph ("Abbé" V.), famous alike as organist, theorist, and composer, b. June 15, 1749, Würzburg, d. May 6, 1814, Darmstadt. He was the son of a violin-maker, and was trained at an early age for his musical calling. He went to Mannheim in 1771, wrote some ballet music, and found in the Elector Karl Theodor, a generous patron. The latter placed him under Padre Martini (q.v.) at Bologna, but his teacher's method (strict counterpoint) was so distasteful to V. that, already after a few weeks, he went to Padua to Vallotti (q.v.), and, at the same time, studied theology at the University. Vallotti's system of teaching harmony (root-chords, inversions, etc.) met with the approval of V., but not the master's somewhat mysterious method of communicating it; and again, the lessons lasted only for a short time—in fact, only a couple of months. V. then went to Rome, entered the priesthood there, and was appointed Protonotary and Chamberlain, received the order of the Golden Spur, and became member of the Accademia degli Arcadi. In 1775 he returned to Mannheim, founded a school of music ("Mannheimer Tonschule") in which his own system was taught; he was also appointed to the posts of court chaplain and second capellmeister. V. understood the art of making himself prominent, and soon brought his "Tonschule" into notoriety. Peter v. Winter, Knecht, and other famous musicians, studied under him at Mannheim. In 1779 the court removed to Munich. V., on account of his school, remained in Mannheim, but produced an opera at Munich in 1781. In 1783 he started on his travels, first to Paris, where his opera, La Kermesse, failed miserably, then on to Spain and to the East. In 1786 we meet with him in Stockholm, as royal court conductor and director of a "Tonschule." He only left Sweden in 1799, after he had become entitled to a pension. He had, for the rest, made full use of the leave of absence granted to him, in making known his system of "simplifying" organs. He travelled with a small chamber organ, which he named "Orchestrion," to Denmark, England and Holland, and everywhere attracted attention as a performer on the organ. His system of simplification consisted in setting aside mixtures, also prospect pipes, and the double arrangement of the C. and the C# chest ("C- und Cis-Lade"), so that the pipes stood directly behind the keys belonging to them, and thus rendered complicated stop-action unnecessary. It is certainly remarkable that these ideas of V. were much talked about, and that he received commissions from London, Stockholm, etc., for organs to be re-built on his system; for at the present day little mention is made of that system, although, perhaps, some of the practical hints thrown out by V. are still of service. Vogler's Orchestrion had a crescendo (Venetian swell); also it was a pet scheme of his to employ a pipe of 8-ft. together with a Quint of 5½-ft., which by combination tones gave a 16-ft sound. This idea of V.'s has been retained up to the present day, especially in the combination of a pipe of 16-ft. and one of 10¾-ft. as a substitute for a 32-ft. pipe. In 1807 V. undertook the post of court capellmeister at Darmstadt, and also established a "Tonschule" there, from which sprang two men of note—Carl M. v. Weber and Meyerbeer. V. always knew how to place himself in the best light, and to turn everything to his advantage. His services must not be denied; they consisted principally in waging war against deep-rooted prejudices and old-fashioned rules of art; and in this respect Weber and Meyerbeer, for their many innovations, probably owed much to him. one of two readings
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