Le Patriotlsme, opera. Versailles, 'on occasion of Siege of Gibraltar' 1783.
Castor and Pollux, opera in 3 acts. At the Italian Opera in Munich, during the Carnival of 1784.[1]
Egle, French opera. At Stockholm, 1787.
La Patriotisme, opera. Written for the Paris Academie in 1788, but rejected or, at all events, not performed.
Athalie, choruses in Racine's play of. At Stockholm, 1791.
Gustav Adolf, Swedish opera. At Stockholm, March, 1792.
Hermann von Unna, overture, choruses, dances, and one song. At Copenhagen, in the early part of 1800.
Die Hussiten vor Naumburg im Jahr 1432, Schluss-Chor' to Kotzebue's drama of. At Leipzig, September, 1802.
Samori, opera in 2 acts, words by F. X. Huber. At the Theatre an-der-Wien, Vienna, May 17, 1804.
Der Admiral, comic opera. Darmstadt, 1810.
Epimenides.—Erwin und Elmire.—Der gewonnene Prozess.—Les Rendezvous de Chasse.—Die Kreuzfahrer; overture.—Der Eremit auf Formentarra, ditto.—Prolog, Comödie.—Scena de Fulvia.—Jägerballet.—Schmied-ballet.
Also probably a number of similar works, particulars not now attainable. Certainly an overture for a play called 'Die Kreuzfahrer,' and either an opera called 'Agnes Bernauerin' or incidental music to a play of that name. A letter of Weber, Jan. 1811, says 'Papa is composing a little opera … it will be ready in a few days.'
CHURCH MUSIC.
1. MASSES.
No. 1. Missa solennis in D min. for 4 Voices, Orchestra, and Organ.
No. 2. Missa pastoricia in E, for 4 Voices, Orchestra, and Organ.
Missa de Quadragesima in F, for 4 Voices and Organ ad lib.
Missa pro Defunctis (Requiem) in E♭ for 4 Voices and Orchestra.[2]
Missa Agnus Dei.
German Mass for 4 Voices and Organ (about 1778.)
German Mass for 4 Voices and Orchestra.
2. PSALMS AND MOTETS.
Psalms. Psalmus Miserere decantandus a quatuor vocibus cum Organo et basis, S. D. Pio VI. Pontifici compositus (about 1777).
Miserere in E♭ for 4 Voices, Orchestra, and Organ.
Miserere, 'Ps. 4.'—In exitu, 'Ps. 5.'
Memento Domine, orch.—Psalm, 'Jehova's Maiestät.'
Davids Buss-Psalm, nach Moses Mendelssohn's Uebersetzung im Choral-Styl. For 4 real parts, one. the Tenor, ad lib. (about 1807).
Ecce quam bonum (133rd Psalm) for 4 Men's Voices with PF. ad lib.
Motets:—Suscepit Israel (composed for Concert Spirituel at Paris) apparently before 1780).
Rorate Cœli, for 4 Voices with PF (ed. by G. Weber, with German words; with English and Latin words in Vocal Anthology.)
Ave Regina, for 4 Voices with Org. or PF. (Latin and German words.)
Cantate Domino, for 4 Voices with Org. or PF. (Ditto.)
Laudate, for Soprano solo, chorus. Organ obbligato and Orchestra.
Postquam impieti (Sereniss. Puerperæ sacrum), 4 Voices and Orch.
3. HYMNS, etc.
Te Deum in D. for 4 Voices and Orchestra.
Kyrie, with Orch. (Oct. 1776).
Magnificat, with Orch. (1777).
Stabat Mater, with Orch. acc.
Ecce panis angelorum (about 1777).
Ave Maris Stella, and Crudelis Herodes for 2 Choirs with Org. or PF.[3]
Veni Sancte Spiritus, Graduale in B♭, for 4 Voices, Orchestra, and Organ.
Beatam me dicent, Orch.
Alma Redemptoris, Orch.
Jesu Redemptor, Orch.
Regina cœli and Laudate Dominum, Orch.
Ave Regina, Org.
Salve Regina in F. for 4 Voices with Org. or PF. ad lib.
Salve Regina, Ave Regina, and Alma Redemptoris, for 4 Voices with Org. or PF. ad lib.
Cantus processionals pro festo corporis Christi.
Vesperæ de Paschale (14 Apr. 1805).
Vesper chorales modulis musicis ornatæ, with Orch. acc. [These Vespers may be identical with the work next mentioned.]
Vesperæ chorales 4 Vocum cum Organo.
4 Latin Hymns, for 4 Voices with PF. ad lib.
6 Hymns for 4 Voices with Org. or PF. ad lib. (Latin and German words—ed. by Gottfr. Weber.)
12 Church Hymns for 3, 4, or 8 Voices unacc. (First Series).
6{{{1}}}„{{{1}}}„{{{1}}}„ (Second Series).
6{{{1}}}„{{{1}}}„{{{1}}}„ (Third Series).
6{{{1}}}„{{{1}}}„{{{1}}}„ (Fourth Series).
6{{{1}}}„{{{1}}}„{{{1}}}„ (Fifth Series).
3 Hymns, for 4 Voices with PF. ad lib:—Defectio tenuit (F min.); Deus caritas est (A); O Salutaris (C)
Hellig (1809).—Chorale (1813).—O God vi lofve dig, Orch.—Hessische Vater unser, Orch.
4. MISCELLANEOUS.
Die Auferstehung Jesu.
Paradigma modorum ecclesiasticorum (about 1777).
Fugues a 4, on themes of Pergolesi's Stabat Mater (about 1777).
S. Kilian's Lied (for 2 Choirs).[4]
INSTRUMENTAL MUSIC.
Op. 1. 6 Trios, PF. Violin, and Bass.—Duos for Flute and Violin.
Op. 2. 6 easy Sonatas, PF.
Op. 3. 6 easy Sonatas, PF. and Violin.
Op. 4. 6 Sonatas, in the form of Duets, Trios, and Quartets, PF. Violin, Viola, and Bass.
Op. 5. 6 Concertos. PF. (in two books, each containing 3 pieces).
Op. 6. 6 Trios, PF. Violin, and Bass.
Op. 7. 6 Trios, PF. Violin, and Bass.
Op. 8. 12 easy Divertissements of national character, PF. (two books, six in each).—Concerto, PF. (played before the Queen of France).
Op. 9. 112 easy Preludes for Organ or PF. (about 1804).
Concerto PF., printed with a Concerto by Kornacher, about 1784.—Nocturne, PF. and Strings.[5]—Quatuor Concertante, PF, Violin, Viola, and Bass.—6 Sonatas for 2 PF.s (1794).—Sonata. PF. (4 hands).—Sonata (Der eheliche Zwlet), PF. with Strings. C.—Pièces. PF.—Air de Marlborough, var. PF.—March with var. PF.—15 Var. (Lied aus dem Lügner) PF.—16 Var PF. F.—Pastorella, PF. (about 1807).—Canzonetta Veneziana varié (about 1807).—Var. (March and Swedish air) PF. (about 1812).[6]—Polonaise favourite, PF. D. (about 1812).—6 Var on March from Samori. PF. Viol., and Cello. F.—6 Var. on Duo (Was brauchen wir) in Samori, PF. Violin, and Cello. D.—6 Var. on Duo in Samori, PF. Viol, and Cello. G.—6 Var. on Trio (Sanfte Hoffnung) in Samori, PF., Violin and Cello. A.—7 Var. on Thema from the Overture to Samori. PF., Violin, and Cello. C.
Polymelos. or characteristic music of different nations, PF. and Strings. (1792?)—Polymelos, a characteristic organ-concert, arranged for PF. with Violin and Cello ad lib. (1806?)[7]
Var. PF., with Orch. acc.—Var. on 'Ah que dirai-je Maman,' PF. with Orch. acc.—Symphony in G (1779).—Do. in D min.—Do. in C.[8]—Baierische Nationalsymphonie.—L'Invocazione, for Guitar.[9]
THEORETICAL WORKS.
Tonwlssenschaft und Tonsetzkunst. Mannheim. 1776.
Stimmbildungs kunst. Mannheim, 1776.
Churpfälzische Tonschule. Mannheim, 1778.[10]
Mannheimer Tonschule. Offenbach.[11]
Betrachtungen der Mannheimer Tonschule. Spire.[12] (1778–80).
Essai de diriger le goût des amateurs de musique. Paris, 1782.
Introduction to the Theory of Harmony (Swedish). Stockholm, 1795.
- ↑ This was one of Vogler's most successful works. The chorus of Furies was sufficiently popular in 1821 to lead an unscrupulous manager at Munich to introduce it into the finale of the second act of 'Don Giovanni'!
- ↑ The composition of this Requiem for himself occupied most of Vogler's later years. It was esteemed his finest work, and is a very striking composition. Besides the ordinary constituents of a requiem, it contains two Agnuses, a 'Liberâ me, Domine.' in 4 movements, and an 'Absolutio ad Tumbam.'
- ↑ In the library at Darmstadt is a 'Crudelis Herodes,' with orch., dated Jan. 1776, and also a 'Hymnus Ave Maris Stella, a 4 vocibus senza instromenti,' possibly identical with the works in the text.
- ↑ A. M. Z. 1820. Beylage V. June 21.
- ↑ Gänsbacher says that 'Vogler's Quintet was played at the soirée in Sonnlelthner's house at which Vogler and Beethoven met. [See [[../Beethoven, Ludwig van#vol. i. p. 183a].] This Nocturne is perhaps meant.
- ↑ The march is described as 'd. l'ordre d. Seraphins,' but this appears to be only a short way of putting 'marche des Chevaliers de l'ordre des Seraphins.' The Seraphin is the oldest Swedish Order.
- ↑ It is quite possible that the staple, at any rate, of the two works styled Polymelos is the same. The latter originated from, and is practically the substance of an organ recital given by Vogler at Munich on March 29 and 31, 1806. Its contents consist of sixteen numbers, viz. No. 1, Volkslied; No. 2, Swedish Air; No. 3, Bavarian Vater Unser; No. 4, Venetian Barcarolle; No. 5, Volkslied; No. 6, Swiss Ranz des Vaches; No. 7. An African Air; No. 8.–No. 9. Bavarian Volkslied; No. 10, Scotch Air; No. 11, Jan. 14—A Bridal Song; No. 12, A Cosack Air; No. 13, The Return of the Wounded Bavarian Knight; No 14, Moorish Air; No. 15, Greenland Air; No. 16, Chinese Air. Each of these appears to have had variations appended, and the variations on Nos 2 and 15 were published separately. The 'Greenland Air' is said to have been noted down by Vogler in that country, while the seven Bavarian Volkslieder were the Abbé's own composition; No. 11 is a piece commemorative of the marriage of Eugene Beauharnais with the Princess of Bavaria on Jan. 14, 1805. and No. 13 was published separately as in 'Ode.'
- ↑ The last movement in this Symphony is called 'the Scala.' The Symphony was not published till after Vogler's death. At Knyvett's concert in Willis's Rooms on Feb. 25, 1811, the Second Part opened with a 'New Symphonie for 2 clarinets. 2 oboes, 2 flutes, 2 horns, and trumpet (obbligati)'—'never performed in this country'—by Vogler, but what this was it seems impossible to ascertain.
- ↑ This may be the work of some musician of like name. Christmann also speaks of a Sonata for Harp, with accompaniment for Flutes and Celli. Rink, in his Autobiography, mentions Variations for Clavier on a Swedish March in E major.
- ↑ This embodies the last-named work.
- ↑ This embodies the three preceding works.
- ↑ A magazine recording the progress of the school 1776–1779?
