"Döhls music represents a central aesthetic position of new art. To him, composing is asking questions of his 'self', music is a medium which he uses in his dealings with a world, whose brokenness and fragility is to be brought to light through art… The partial frugality of the angular contours, repetitive rhythms and glaring contrasts have a direct correlation to highly expressive cantability and dionysistic sound sensuality." Wilfried Gruhn, in 'Metzlers Composers Lexicon'

About the Friedhelm Döhl Edition

"Edition of the year" - Tilmann Urbach, Fono Forum 12/2009

"Performances and supporting documentation are admirable."
Cambridge University Press

„Une voix des profondeurs dans le désert du présent“
Fred Audin/ ClassiqueInfo-Disque, 2/2009

Sofia Gubaidulina
Galgenlieder à 5

Catalog number 21071

Barbara Höfling, mezzosopran
Elsbeth Moser, bajan
Gergely Bodoky, flute
Cornelia Monske, percussion
Martin Heinze, double bass

Dreyer Gaido Musikproduktion congratulates Sofia Gubaidulina on her 80th birthday with a recording of her “Galgenlieder à 5” (Gallows Songs à 5). The ensemble with the singer Barbara Höfling rehearsed the work in close conjunction with the composer and recorded it in 2011 at the studios of NDR Hanover.
“This recording is wonderful. The multitude of emotions in this 14-part compilation … is as astonishing as it is enjoyable.
And that Gubaidulina takes Morgenstern so seriously is a further plus for this music, which should even delight those classic lovers not well versed in New Music.”
Aachener Zeitung

"The fact is that in Galgenlieder Gubaidulina is clearly playing games of her own. ... one probably needs a substantial amount of background knowledge to appreciate those games. (One might almost suggest that she has done for music what James Joyce did for literature.) On the other hand one can abandon that quest for knowledge and simply take Galgenlieder ... as an irresistible journey through the rhetorical powers of sonority that is almost independent of any semantic level being expressed through the rhetoric."
Stephen Smoliar. examiner.com