Friedhelm Döhl Edition

Friedhelm Döhl Edition Vol. 10
Music for Solo Strings

Catalogue number 21044

Friedhelm Döhl wrote music for all genres, from solo instruments to large numbers of participants, from the small lyrical form to symphonic cycles. If one looks closely at his complete compositional works it is apparent that the various principles are interconnected, the symphonic with the lyrical (e.g. ‘Winterreise. String Quartett’) and the lyrical in the symphonic (e.g. ‘Gesang der Frühe’ for large orchestra). Vol. 1-5 contain works for samller ensembles (Chamber Music, Piano, open Grand Piano, Song cycles, Song scenes and Microdramas) whereas in Vol. 6-9 his large-scale works can be found (Concertos, Requiem, orchestral works).

Vol. 10 is dedicated to his ‘music for solo strings’ – for violin, viola, cello, violin/cello, double bass, - performed by excellent specialists of their instruments, who were in close contact to the composer and with whom he enjoyed working: Zakhar Bron (violin), Corinna Golomoz (viola), Johannes Moser (cello), Christiane Edinger / Ulf Tischbirek (violin / cello), Jörg Linowitzki (double bass).


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

 

Friedhelm Döhl Edition Vol. 11
Chamber Music - Lyric

Catalog number 21046

For Friedhelm Döhl chamber music and lyric are two perspectives which complement each other, one might almost say: necessitate each other. This has been clear ever since the ‘7 Haiku’ 1963 for Soprano, Flute and Piano or Soprano and Piano (friedhelm Döhl edition Vol. IV). However, the ‘lyrical’ works are not merely parallel musical settings of the literary content, but rather autonomous musical compositions where text, voice and instrumentation are equally-weighted factors in the structure, each very individual and diverse, such as in the ‘Sonne-Hymnen’ or the ‘Celan-Liedern’. - On the other hand: The ‘Chamber music’ works are most certainly instrumental in their conception, instrumentally challenging and idiosyncratic, and yet, at the same time, they are interwoven with and characterised by lyrical aspects, even though these are quasi ‘unspoken’. The ‘Concerto a due’ has definite lyrical components: the song quotes in the first movement, the ‘Lied‘ and ‘Ballade’ in the third and fourth movements, ‘Abschied’ in the short, island-like third movement. The Duo for Flute and Cello ‘Der Abend/Die Nacht’ alludes in its title to a (verifiable) connection to poems by Trakl. (However, nobody needs to know the poems to ‘understand’ the music.) - As Döhl witnessed several productions of plays by Beckett in Berlin, the Beckett quote at the beginning of the (Berlin) score of ‘Sotto voce’ is most certainly not there just by chance. The Beckett text can surely lead one to draw a certain musical association, but this is by no means explicit, just as the Beckett text itself is not meant to be explicit. Conversely, the music can lead one to view the Beckett text in a new, unforeseen way. However, text and music can also well do without each other. They are as independent as they are ambiguous. It is remarkable that Döhl - as is apparent from the sketches - wrote the text after the composition of the score, perhaps as one possible perspective of the musical idea.

with
Christiane Edinger, James Tocco, Judith Kamphues, Angela Firkins, Christian Ruvolo, Ulf Bästlein, Friedhelm Döhl, Hartmut Gerhold, Werner Selge, Trio Pleyel


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

 
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