Alles Gute zum Geburtstag Georg Joseph Vogler! 🎹🎁

Composer: Georg Joseph Vogler (1749-1814)
Work: Concerto (F-Dur) per il Clavicembalo, previously attributed to Joseph Haydn as Hob XVIII: F1
Performers: Robert Veyron-Lacroix (1922-1991, cembalo); Orchestre De La Société Des Concerts Du Conservatoire; Kurt Redel (1918-2013, conductor)

Concerto per il Clavicembalo
1. Allegro moderato 0:00
2. Andante 5:15
3. Presto 8:20

Painting: Giuseppe de Gobbis (fl. 1772-1783) - A music party
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Painting: Carl Fredrik von Breda (1759-1818) - Portrait of Grzegorz Józef Vogler
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Georg Joseph [Abbé Vogler] Vogler
(Würzburg, 15 June 1749 - Darmstadt, 6 May 1814)

German composer, keyboardist, and pedagogue. He received his earliest training from his father, a maker of musical instruments, later transferring to the Jesuit Gymnasium in Würzburg, where he matriculated at the university in law in 1763. In 1766 he moved to Bamberg to study theology, and in 1771 he was offered the position of almoner at the Electoral court of Mannheim. Two years later he was sent on a grand tour of Italy to study with Padre Giovanni Battista Martini and Padre Francesco Vallotti, eventually finding his way to Rome where he built a reputation as a keyboard player and was named a papal legate with the title of Abbé. In 1775 he returned to Mannheim, where he opened a school of music and published two treatises on music theory, Tonwissenschaft und Tonsetzkunst and Stimmbildungskunst. A monthly journal outlining his theoretical concepts, the Betrachtungen einer Mannheimer Tonschule, followed 1778-81. By 1780 he had appeared in Paris and later London, from which he was recruited to Stockholm as director musices. Following the successful performance of his opera Gustaf Adolph och Ebba Brahe, he often went abroad on concert tours, traveling as far afield as Gibraltar, Greece, and North Africa. In 1793, following the death of his rival Joseph Martin Kraus, he returned to Stockholm where he founded another school of composition, eventually being pensioned off in 1799. Over the next several years he traveled extensively, making his home in Copenhagen, Berlin, Prague, Vienna, and Munich. In 1807, he was offered a permanent position as ecclesiastical counselor and Kapellmeister in the city of Darmstadt, where his pupils included Giacomo Meyerbeer and Carl Maria von Weber. A colorful figure who excelled at intrigue, he was often accused of being a charlatan, particularly when publishing music reputed to have come from exotic locations (such as the “Greenlandic” song “Døle vise” or the Chinese rondo Cheu-teu) or performing upon instruments of his own invention that included pyrotechnics. His mannerisms did not gainsay this reputation, but his contributions, particularly toward the field of music theory and orchestration, were seminal in music history. As a composer, his more than 600 works include 14 operas, four ballets, incidental music for a variety of plays (including Shakespeare’s Hamlet and Skjöldebrand’s Herman von Unna), 14 Masses, 60 Mass movements, a large amount of sacred music, a massive Requiem, 30 songs and small cantatas, four symphonies (one, in C major subtitled “Scalan” that was revised to include a chorus as the “Bavarian National Symphony”), 11 piano concertos, a horn concerto, 30 piano trios, 10 string quartets, 112 preludes for organ, and a plethora of smaller sonatas and miscellaneous pieces. His works often foreshadow the following century in their sense of orchestral color. The music was cataloged by his biographer Emil von Schafhäutl in 1888.

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