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Scan 848
Dictionary of music, 1900
14 lines. Read by computer on 3 September 2026. Printed page 840. See the scan on archive.org.
1As an opera composer he met with but little success, although he made many stage ventures (operas: Der Kaufmann von Smyrna, Mayence, 1780; Albert III. von Bayern, Munich, 1781; La Kermesse, Paris, 1783; Églé, Erwin und Elvira, Darmstadt, 1781, Paris, 1782; Le patriotisme, 1788, written for the Paris Grand Opera, but refused; Castor und Pollux (Ital.), Munich, 1784, (Ger.) Mannheim, 1791; Gustav Adolf [Ebba Brahe], Stockholm, 1792; Hermann von Unna, play by Skjöldebrand, with music by V., also as Hermann von Staufen, Copenhagen, 1800, Berlin, 1801; Samori, Vienna, 1804; Der Admiral, Darmstadt, 1810; and besides: overtures and Entr'actes to Hamlet; the ballets: "Schusterballett," 1768; "Le rendez-vous de chasse," 1772; a melodrama, Lampedo; cantata, "Ino"; and choruses to Athalia. His sacred compositions were highly prized in their day (psalms, motets, masses, Requiem, hymns, Miserere, Te Deums, Salve, etc.). His instrumental works consist of a symphony, several overtures, a pf. concerto, a pf. quartet, a nocturne for pf. and strings, "Polymelos" (characteristic pieces of various nationalities for pf. and strings), an organ concerto, organ preludes, figured chorales, pf. trios, violin sonatas, sonatas for pianoforte alone, 6 for two pianofortes, variations, divertissements, etc. His pamphlets are of great interest: "Tonwissenschaft und Tonsetzkunst" (1776); "Stimmbildungskunst" (1776); "Kurpfälzische Tonschule" (1778); "Mannheimer Tonschule" (reprint of the three above-mentioned in 1 vol.); "Betrachtungen der Mannheimer Tonschule," a monthly journal; Essai de diriger le goût des amateurs (1782; with many musical examples 1778–81); "Inledning til harmoniens könne-dom" (Stockholm, 1795); a pianoforte and thoroughbass Method, and an organ Method in Swedish (1797); "Choralsystem" (Copenhagen, 1800); "Data zur Akustik" (1800); "Handbuch zur Harmonielehre" (1802); "Ueber die harmonische Akustik" (1807); "Gründliche Anweisung zum Klavierstimmen" (1807); "Deutsche Kirchenmusik" (1807); "Ueber Choral- und Kirchengesänge" (1814); "System für den Fugenbau" (posthumous). K. v. Schafhäutl has written a biography of Abbé V., with a complete list of his works (1888).
3Vogt, (1) Gustave, performer on the oboe, b. March 18, 1781, Strassburg, studied with Sallantin at the Paris Conservatoire. He played in various orchestras in Paris. He went through the German campaign under Napoleon in 1805–6, as oboist of the Garde, was afterwards principal oboist at the Opéra Comique, 1814–34 at the Grand Opéra, 1828–44 principal oboist at the Conservatoire concerts, in 1808 assistant teacher, and in 1816 principal teacher of the oboe at the Conservatoire, also from 1815–30 principal oboist of the royal band. In 1844 he withdrew from public life. V. wrote 4 oboe concertos, potpourris, marches for military band, a concert piece for English horn, etc.
5(2) Jean, pianist and composer, b. Jan. 17, 1823, Gross Tinz (near Liegnitz), d. July 31, 1888, Eberswalde, studied with Bach and Grell at Berlin, Hesse and Seidel at Breslau, made many concert-tours, repeatedly changed his place of residence, and settled in Dresden in 1861, in Berlin 1865 (teacher at the Stern Conservatorium), and went in 1871 to New York; after 1873 he lived again in Berlin. Of his compositions may be named an oratorio, Lazarus.
7Voice (Lat. Vox, Ital. Voce, Ger. Stimme, Fr. Voix).—(1) the human singing-voice, and its different kinds; see Soprano (Discant), Mezzo Soprano, Alto, Tenor, Baryton, Bass. (2) The various parts, harmonically connected and proceeding in company (voices, parts, Lat. voces or partes), of a composition are divided into principal voices or parts (obbligato parts) which in concertante fashion develop the real material of the composition, and accessory or filling-up voices or parts, which only complete the harmonies; further, solo parts, to which a special and prominent rôle is assigned, and chorus or ripieno parts. In the theory of musical composition a distinction is made between extreme (highest and lowest, Soprano and Bass), and middle parts (Tenor and Alto). Concerning real parts, see PARTS, CONDUCT OF.
9Voice, breaking of. (See MUTATION.)
11Voice-formation. The various points of importance to notice in the training of the voice are: (1) The right mode of tone-production, and the proper resonance of the vowel in singing. (2) Training in inspiration and expiration (by means of Messa di voce), also the strengthening of the organs of respiration, which is the first condition for strengthening the voice. (Cf. BREATH.) (3) Practice in firmly maintaining pitch (in which the muscles and ligaments concerned, and the sense of hearing are exercised, likewise by means of Messa di voce). (4) Equalisation of the clang-colour of the sounds (in striving after which the bad production of one particular sound will frequently be noticed). (5) Extension of the compass of the voice (by practising the notes which the singer has comfortably at his command). (6) Practice for flexibility of the voice (first of all slow tone-binding with narrow and wide intervals; afterwards, practice in runs, shakes, mordents, etc.). (7) Perfecting of the sense of hearing (systematic pitching upon notes). (8) Practice in correct enunciation (best accomplished by the study of songs). (9) Practice in the rendering of music (by the selection of works of different character for study).
13Voigt, (1) Johann Georg Hermann, organist of St. Thomas's Church, Leipzig, b. May 14, 1769, Osterwieck (Saxony), d. Feb. 24, 1811, Leipzig. He published 12 minuets for orchestra, 7 quartets and a trio (with viola) for strings, a concerto for viola, a polonaise
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