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Gustave Vogt (1781-1870) was just one among Napoleon Bonaparte's favorite musicians. Another was Niccolò Antonio Zingarelli (1752-1837) and Vogt probably knew him well. At least we know that he was particularly fond of Zingarelli's Prière, actually a scena from one of his operas, since he made two settings of it utilizing the cor anglais as the soloist. The reason this work is so interesting for us is that Vogt has loaded the solo part of the cavatina and the cabaletta of Zingarelli's scena with his own florid ornamentation.

For the Double Reed Archaeologist I have chosen the setting printed by the house of Richault entitled Solo de Cor Anglais. Unfortunately the parts for strings supported by ad libitum pairs of clarinets, bassoons, and horns were not included with the piano score and cor anglais part. So, again, I have had to create a string orchestra score from the information contained in the piano score.

Vogt published the Solo de Cor Anglais as his Lettre A, an idea used by some French musicians of the time as an alternative to giving opus numbers. Vogt's Concerto in D minor of 1836, for example, is Lettre C. Both Jean Baptiste Viotti (1755-1824) and Rodolphe Kreutzer (1766-1831) used the same system.

Vogt's other version of the Prière is located in the Conservatoire Collection at the Bibliothèque Nationale in Paris. It is an entirely different arrangement of Zingarelli's work, laid out for a chamber group consisting of cor anglais accompanied by violin, viola, bass, 2 clarinets in Bb, and 2 horns in C. The call number appended to the manuscript parts is Ms. 16760.