Page:A Dictionary of Music and Musicians vol 4.djvu/351

VOICES. most excellent effect produced, at the Thomas-Schule, in Leipzig, and at the Cathedrals of Cologne, Mayence, and Regensburg, by unaccompanied Choirs, in which the Alto parts were entrusted entirely to the fresh young Voices of a well-trained body of Boy-Choristers, whose lower registers were cultivated, with success, for some considerable time after they were prevented, by the approach of the inevitable mutation, from singing Treble. Such Voices cannot be effectively used in combination with the Falsetto Counter-Tenor; but they combine perfectly with the rich female Contralto, with which they may be profitably associated, in Choral Music of all kinds.

This extensive modification in materials was followed by a corresponding modification of treatment. Acute Equal Voices are now understood to mean the Voices of Women and Children; and Grave Equal Voices, those of Men. When the two classes are employed together, each maintains its own accustomed level, in the distribution of the general harmony, more strictly, by far, than was the case under the older system. The contrast between the timbre of a Tenor, and that of a Contralto, is too great to allow the two to work together in the intimate association which formed so marked a feature in the Polyphonic Schools; and even when two Voices of the same class are employed, they seldom correspond exactly in compass. The Second Soprano really sings a second part, and only rises above the first in very exceptional cases; while the Second Bass is always understood to be responsible for the lowest sounds in the harmony. This disposition of the parts accords perfectly with the timbre of the Voices employed; and has been proved, by long experience, to be more perfectly adapted than any other to the requirements of modern Music, which, during its progress towards perfection, has demanded, from time to time, changes in the arrangement of the Vocal Orchestra little less revolutionary than those effected in the Instrumental Band. [ W. S. R. ]

VOICING. A term used in organ-building to express the method of obtaining a particular quality of tone, in an organ pipe, and of regulating a series of pipes so that their tone shall be uniform throughout. The quality of the tone of Flue-pipes is mainly dependent on (1) their general shape, (2) their scale; but, after the pipe-maker has turned out a set of pipes of true proportion, the 'voicer' can produce a great variety of qualities by regulating (1) the quantity of wind admitted to the pipe, (2) the thickness of the 'sheet of wind,' (3) the angle at which it impinges on the upper lip, (4) by imparting a special surface to the edge of the lip itself or by cutting it higher; and in other ways. The voicing of Reed pipes is dependent chiefly on (1) the quantity of air admitted, (2) the shape and thickness of the tongue, (3) its position, (4) the relation between the length of tube and the pitch of the note produced.

Voicing thus requires both a delicate ear and skilful hand; it is, in fact, the most artistic part of an organ-builder's work. But few are equally good voicers both of reed and flue-pipes, and better voicing is obtained from a specialist than from a 'general' hand. In testing the voicing of an organ-stop, an opinion should first be formed as to the merit of the particular quality selected by the voicer; next, the pipes should be consecutively sounded in order to trace whether the quality of tone is uniform. This applies both to flue and reedpipes. [ J. S. ]

VOIGT (pronounced ),, née Kunze, born in 1809, a distinguished German amateur musician, and prominent figure in the musical life of Leipzig.

She was the pupil of L. Berger, and became a remarkable performer, and the warm friend of her teacher. Schumann was introduced to her by Ludwig Schunke, who almost lived in the Voigts' house before his early death, and their intimacy became very close. A characteristic story illustrating this is told in the article on Schumann in this Dictionary, vol. iii. p. 389 and we may here quote Schumann's own expression—'Ich dichte, wenn ich an Sie denke,' which may be rendered 'The thought of you inspires me.' He alludes to her occasionally in his 'Davidsbündler' articles under the name of 'Eleonore'; and his entry in her album was very characteristic, consisting only of a huge crescendo mark reaching across the whole page, with his name below it. This, on enquiry, he explained to predict the continual increase of their friendship. Mendelssohn's contribution to her album was the first sketch of the Gondellied in F♯ minor (op. 30, no. 6); and though there is no mention of her either in his collected Letters or in the 'Familie Mendelssohn,' there is ample testimony to his esteem for her talents and her person in his 'Eight Letters' to her, published in 1981. Hauptmann and C. Löwe have also left the most appreciative references to her ability and taste: indeed she was, with Madame Frege, at the head of the amateurs of Leipzig in that most brilliant time.

Her husband, Carl Voigt, to whom she was married in Nov. 1830, was a Leipzig merchant, and as great an enthusiast for music as herself. He died June 15, 1881, in his 76th year, leaving 300l. to the Gewandhaus Concerts for a performance of Beethoven's Ninth Symphony every year, or at the least every two years. A few words about that Symphony, attributed to him, will be found in Schumann's 'Ges. Schriften,' 1st ed. i. 27.

Madame Voigt died on Oct. 15, 1839, in her 31st year. Schumann gave a sketch of her in the 'Neue Zeitschrift für Musik' for the 15th of the following November, under the title of