Georg Joseph Vogler

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Vogler, Georg Joseph

 

Born June 15, 1749, in Wurzburg; died May 6, 1814, in Darmstadt. German composer, music theorist, conductor, and organist; Catholic priest.

Vogler studied in Bologna under G. B. Martini and in Padua under F. A. Vallotti. He traveled a great deal and exhibited a keen interest in the music of various peoples, including those of eastern nations. In 1775 he moved to Mannheim, where he founded a school of music. In 1784 he became chief Kapellmeister in Munich. From 1786 to 1788 and from 1794 to 1799, Vogler served as Kapellmeister in Stockholm. In 1788 he visited St. Petersburg. In 1807 he became Kapellmeister to the grand duke of Darmstadt.

Vogler gave organ concerts, and he constructed a portable organ known as the orchestrion. He was the composer often operas and two ballets, as well as symphonies, overtures, vocal works, concerti for piano and orchestra, and other instrumental works. He also wrote treatises on music theory and guides to counterpoint. Among Vogler’s many pupils were C. M. von Weber and G. Meyerbeer.

References in classic literature ?
'Abt Vogler' is the richest, deepest, fullest poem on music in the language.
It is rather fully expressed as a whole, in two of Browning's best known and finest poems, 'Rabbi ben Ezra,' and 'Abt Vogler.' Some critics, it should be added, however, feel that Browning is too often and too insistently a teacher in his poetry and that his art would have gained if he had introduced his philosophy much more incidentally.
The music monologues "Master Hugues of Saxe Gotha," "A Toccata of Galuppi's," and "Abt Vogler" are an important explication of this use of symbolism as they focus on the tension between the empirical view of music as form and the Romantic view of music as philosophy in order to express the relationship of fancy to reason and of the ideal to the real.
Indeed, although Browning's music monologues, "Abt Vogler" (1864), (33) "Master Hugues of Saxe-Gotha" (1855; "Men and Women," CW, 5: 285-292), and "A Toccata of Galuppi's" (1855; "Men and Women," CW, 5: 197-199), have not been seen to encompass one unified idea about music, in the light of Browning's music symbolism, it is apparent that these monologues are companion pieces in which Browning uses music to express his foundational Romantic epistemology.