GEORG See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

JOSEPH See also:

• GEORG JOSEPH VOGLER (1749-1814)

VOGLER (1749-1814)  , usually known as See also:

• ABBE (Serbo-Croatian Rai))

Abbe or See also:

• ABT, FRANZ (1819-1885)

Abt (See also:

• ABBOT (from the Hebrew ab, a father, through the Syriac abba, Lat. abbas, gen. abbatis, O.E. abbad, fr. late Lat. form abbad-em changed in 13th century under influence of the Lat. form to abbat, used alternatively till the end of the 17th century; Ger. Ab
• ABBOT, EZRA (1819-1884)
• ABBOT, GEORGE (1603-1648)
• ABBOT, ROBERT (1588?–1662?)
• ABBOT, WILLIAM (1798-1843)

Abbot) See also:

• VOGLER, GEORG JOSEPH (1749-1814)

Vogler, See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German organist and composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Pleichach in See also:

• WURZBURG

Wurzburg on the 15th of See also:

• JUNE

June 1749 . His See also:

• FATHER

father, a See also:

• VIOLIN

violin maker, while educating him in the Jesuit See also:

• COLLEGE (Collegium)

college, encouraged his musical See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, which was so marked that at ten years old he could not only See also:

• PLAY

play the See also:

• ORGAN

organ well, but had also acquired a See also:

• FAIR

fair command of the violin and some other See also:

• INSTRUMENTS

instruments . In 1771 he went to See also:

• MANNHEIM

Mannheim, where he composed a See also:

• BALLET

ballet for the elector Karl Theodor, who sent him to See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna in 1774 to study under the Padre See also:

• MARTINI, GIOVANNI BATTISTA (1706–1784)
• MARTINI, SIMONE (1283-1344)

Martini . Dissatisfied with the method of that learned theorist, he studied for five months under Valotti at See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, and afterwards proceeded to See also:

• ROME
• ROME (Roma)

Rome, where, having been ordained See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest, he was admitted to the famous See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of See also:

• ARCADIA

Arcadia, made a See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight ofthe See also:

• GOLDEN

Golden See also:

• SPUR (A.S. spura, spora, related to spornan, spurnan, to kick, spurn; cf. M.H.G. sporn, mod. Ger. Sporn)

Spur, and appointed protonotary and See also:

• CHAMBERLAIN (0. Fr. chamberlain, chamberlenc, Mod. Fr. chambellan, from O. H. Ger. Chamarling, Chamarlinc, whence also the Med. Lat. cambellanus, camerlingus, camerlengus; Ital. camerlingo; Span. camerlengo, compounded of 0. H. Ger. Chamara, Kamara [Lat.
• CHAMBERLAIN, JOSEPH (1836— )
• CHAMBERLAIN, JOSHUA LAWRENCE (1828– )
• CHAMBERLAIN, SIR NEVILLE BOWLES (1820-1902)

chamberlain to the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope . On his return to Mannheim in 1755 Vogler was appointed See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court See also:

• CHAPLAIN

chaplain and second " See also:

• MAESTRO

maestro di cappella." He now established his first See also:

• GREAT

great See also:

• MUSIC

music school . His pupils were devoted to him, but he made innumerable enemies, for the principles upon which he taught were opposed to those of all other teachers . He had invented a new See also:

• SYSTEM

system of fingering for the See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord, a new See also:

• FORM (Lat. forma)

form of construction for the organ, and a new system of musical theory founded upon that of Valotti . See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart condemned the fingering as " miserable," and many rumours to his discredit have survived to this See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day owing to Mozart's See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the See also:

• PREJUDICE (Lat. praejudicium)

prejudice See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt against him . The proposed See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in the construction of the organ consisted in simplifying the mechanism, introducing See also:

• FREE

free-reeds in See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed-stops, and substituting unisonous stops for the great " mixtures " then in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue . The theoretical system, though professedly based upon Valotti's principles, was to a great extent empirical . Nevertheless, in virtue of a certain substratum of truth which seems to have underlain his new theories, Vogler undoubtedly exercised a powerful See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence over the progress of musical See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science, and numbered among his disciples some of the greatest geniuses of the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . In 1778 the elector removed his court to See also:

• MUNICH (Ger. Munchen)

Munich .

Vogler followed him thither in 178o, but, dissatisfied with the reception accorded to his dramatic compositions, soon quitted his See also:

• POST

post . He went to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, where after much hostility his new system was recognized as a continuation of that started by See also:

• RAMEAU, JEAN PHILIPPE (1683-1764)

Rameau . His organ concerts in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St Sulpice attracted considerable See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention . At the See also:

• REQUEST, LETTERS OF

request of the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen, he composed the See also:

• OPERA (Italian for " work ")

opera Le Patriotisme, which was produced before the court a.t See also:

• VERSAILLES

Versailles . His travels were wide, and extended over See also:

• SPAIN
• SPAIN (Espana)

Spain, See also:

• GREECE

Greece, See also:

• ARMENIA (old Persian Armina, Armenian Hayasdan, or Hayq)

Armenia, remote districts of See also:

• ASIA

Asia and See also:

• AFRICA
• AFRICA, ROMAN

Africa, and even See also:

• GREENLAND (Danish, &c., Gronland)

Greenland, in See also:

• SEARCH, or VISIT AND SEARCH

search of uncorrupted forms of See also:

• NATIONAL

national See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody . In 1786 he was appointed "kapellmeister " to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden, founded his second music school at See also:

• STOCKHOLM

Stockholm, and attained extraordinary celebrity by his performances on an See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument called the " See also:

• ORCHESTRION

orchestrion "—a See also:

• SPECIES

species of organ in-vented by himself.' In 1790 he brought this instrument to See also:

• LONDON

London, and performed upon it with great effect at the See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon, for the See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert-See also:

• ROOM

room of which he also constructed an organ upon his own principles . The abbe's pedal-playing excited great attention . His most popular pieces were a See also:

• FUGUE (Lat. fuga, flight)

fugue on themes from the " Hallelujah See also:

• CHORUS (Gr. xopbs)Z

Chorus," composed after a visit to the See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel festival at See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey, and A Musical Picture for the Organ, by Knecht, containing the See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of a See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm . From London Vogler proceeded to See also:

• ROTTERDAM

Rotterdam and the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief towns on the See also:

• RHINE (Lat. Rhenus, Ger. Rhein, Fr. Rhin, Dutch Rhyn, or Rijn)

Rhine . At See also:

• ESSLINGEN

Esslingen he was presented with the " See also:

• WINE (Lat. vinum, Gr. oivos)

wine of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour," reserved for the use of sovereigns . At See also:

• FRANKFORT

Frankfort he attended the See also:

• CORONATION (Lat. corona, crown)

coronation of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold II . He then visited Stockholm, and after a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence there, interrupted by endless wanderings, once more established himself in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where his compositions, both sacred and dramatic, received at last full See also:

• CREDIT (Lat. credere, to believe)

credit .

We hear of him at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin in ',Soo, at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna in 1804 and at Munich in 1806 . While at Frankfort in 1807 he received an invitation from See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis I., See also:

• GRAND

grand See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• HESSE
• HESSE (Lat. Hessia, Ger. Hessen)

Hesse-See also:

• DARMSTADT

Darmstadt, offering him the See also:

• APPOINTMENT, POWER OF

appointment of " kapellmeister," with the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of merit, the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of privy councillor, a See also:

• SALARY

salary of 3000 florins, a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, a table supplied from the duke's own See also:

• KITCHEN (O.E. cycene; this and other cognate forms, such as Dutch keuken, Ger. Kiuche, Dan. kokken, Fr. cuisine, are formed from the Low Lat. cucina, Lat. coquina, coquere, to cook)

kitchen, and other privileges,which deter-See also:

• MINED

mined him to bring his wanderings at last to a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close . At Darmstadt he opened his third and most famous music school, the chief ornaments of which were See also:

• GANSBACHER, JOHANN BAPTIST (1778-1844)

Gansbacher, See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber and See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer, whose See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection for their old See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master was unbounded . One of Vogler's latest exploits was a See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to Frankfort in 181o, to See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of Weber's Sylvana . He continued to See also:

• WORK

work hard to the last, and died suddenly of See also:

• APOPLEXY (Gr. arov n i.a, from aroaMvvew, to strike down, to stun)

apoplexy at Darmstadt on the 6th of May 1814 . He was a 1 See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• BROWNING, ELIZABETH BARRETT (z8o6-r861)
• BROWNING, OSCAR (1837- )
• BROWNING, ROBERT (1812-1889)

Browning's poem on " Abt Vogler extemporizing on an instrument of his own invention has made his name See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to the See also:

• LITERARY

literary public . brilliant and accomplished performer, and an excellent if an See also:

• ECCENTRIC (from Gr. F,c, out of, and Kivrpov, centre)

eccentric teacher; but his own compositions have not survived .