Vladimir Rudolfowitsch Vogel

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Vladimir Rudolfowitsch bird ( Russian Владимир Рудольфович Фогель ., Scientific transliteration Vladimir Fogel Rudol'fovič ' ; * February 17 jul. / 29. February  1896 greg. In Moscow , † 19 June 1984 in Zurich ) was a Swiss composer of German-Russian Origin. His musical concept was based on the twelve-tone music propagated at the time . His main work consists of vocal compositions whose voices are based on a synthesis of language and song.


Wladimir Vogel was the son of a Russian-Jewish mother and a German father. During the First World War , his family was interned in the Urals because of their descent, but Vladimir was allowed to leave. He went to Berlin, where he studied with Heinz Tiessen and Ferruccio Busoni between 1918 and 1924 . He was active as a composer, composition teacher at the Klindworth Scharwenka Conservatory and music critic. He was close to the Expressionist group around Herwarth Walden and was active as a member of the music section of the November group of Max Butting and Hans Heinz Stuckenschmidt . Because of his commitment to German-Soviet cultural exchange and to the labor movement, he had to leave Germany in 1933. His music was defamed as degenerate by the National Socialists . He later went to London via Strasbourg, Brussels and Paris. Between 1936 and 1939 he was in Zurich and met Aline Valangin , whom he married in 1954. This marriage lasted until 1965. Vogel and Valangin lived in Ascona from 1939 and into the 1940s , where he supported the Settimane Musicali di Ascona founded in 1946 . From 1964 Vogel was back in Zurich. He was naturalized in Switzerland in 1954 when he married. Previously, he was banned from his profession, which made teaching impossible for him. His music was also not allowed to be performed. In 1948, at Vogel's instigation, a «Dodecaphonic Congress» took place in Orselina . Among others, Luigi Dallapiccola , Hermann Meier , Gian Francesco Malipiero , Karl Amadeus Hartmann , Rolf Liebermann and Erich Schmid took part. His remains are in the Witikon cemetery .


Wladimir Vogel composed a symphony , pieces for orchestra, wind and string orchestra, a violin and a cello concerto, works for choir, soloists and orchestra, the most important of which, known as dramma oratorio , are based on a synthesis of language and song, and chamber music Works. He was a representative of twelve-tone music . In 1960 the Ferien-Journal from Ascona wrote about his oratorios : “What sets it apart from other works of the genre is the musical use of a speaking (not just a singing) choir. The effect of this instrumental use of language, that is, of its own sounds and noises, its special rhythm and melodic gradient, is always amazing. Wladimir Vogel has found an interesting combination of sound and word that enriches the music. ”The online edition of the Neue Zürcher Zeitung described Vogel as“ ... probably the most important mediator of dodecaphony in Switzerland [...] ”.

  • Three spoken songs based on August Stramm for baritone and piano, 1922.
  • Symphonic process for large orchestra, 1922–23.
  • Wagadu's Downfall through Vanity , Dramma-Oratorio, 1930, for mixed choir, speaking choir and five saxophones , Berber stories based on Leo Frobenius .
  • Sinfonia fugata for large orchestra, 1930–1932.
  • Four etudes for large orchestra, 1930–1932.
  • Rally, Piece for Orchestra , 1932.
  • Thyl Claes , Part I and II, Dramma-Oratorio, 1941–42 and 1943–45, for narrator, female voice, speaking choir and orchestra, based on the novel The legend and the heroic, happy and glorious adventures of Ulenspiegel and Lamme Goedzak by Charles de Coster .
  • Jonah went to Nineveh , Dramma Oratorio, 1957–58.
  • Meditazione sulla maschera di Modigliani , Dramma-Oratorio, 1960.
  • To academic youth ( Notker Balbulus ) for mixed a cappella choir, 1962.
  • Words ( Hans Arp ) for 2 speaking voices and strings, 1962.
  • Escape , Dramma-Oratorio, 1963–64.
  • Mondträume (H. Arp) , permutations and paraphrases based on verses from "Mondsand" by Hans Arp for a cappella speaker choir, 1965.
  • Gli spaziali , Dramma-Oratorio, 1970-71.
  • Farewell for string orchestra, 1973.
  • Meloforms for string orchestra, 1974.
  • Homage to a 6-note sequence by Hermann Jöhr for strings in any instrumentation , 1975.
  • Composition for chamber orchestra, 1976, commissioned for Paul Sacher .
  • In Signum IM for large orchestra, 1976.
  • Struts for chamber orchestra, 1977.
  • Reigen for chamber orchestra, 1981.
  • Humoresque, paraphrases on 2 themes by Gottschalk and Tschaikowsky for large orchestra, 1981.
  • Contrasts for large orchestra, 1983.


Web links

Individual evidence

  1. ticinARTE website with biographical information on Vladimir Vogel
  2. ^ Holiday Journal, Ascona, from August 30, 1960
  3. Angelo Garovi: clay series manufacturers and palm frond holder Schönbergs. In: Neue Zürcher Zeitung . October 18, 2008, accessed May 28, 2018 .