Döhl, Friedhelm

Döhl, Friedhelm, German composer and teacher;b. Göttingen, July 7, 1936. He was a pupil of Forrner at he Freiburg im Breisgau Hochschule für Musik (1956–64) and pursued his academic studies at the Univ. of Göttingen (Ph.D., 1966, with the diss. Weberns Beitrag zur Stilwende der neuen Musik; publ. in Munich, 1976). After lecturing at the Diisseldorf Hochschule für Musik (1965–68), he was principal lecturer (1969–72) and prof. (1972–74) at the Musicological Inst. of the Free Univ. in Berlin; then was founder-director of the studio for electronic music, for music and theater, and for non-European music at the Basel Academy of Music (1974–82). He served as a prof, of composition at the Lübeck Hochschule für Musik from 1983, and as its director from 1991. Döhl’s earliest creative efforts were heavily influenced by Webern and Schoenberg; he later developed an innovative style notable for both exploration of color and experimental instrumentation.

Works

DRAMATIC opéra : Medea B a l l e t : Ikaros (1977–78); Fiesta (1982). ORCH.: Zorch, concerto for 3 Open Pianos and Big Band (1972); Sym. for Cello and Orch. (1980–81); Tombeau: Metamorphose (1982–83); Passion (1984); Winterreise for Strings (1986; also for String Quintet, 1985); Sym. (Liibeck, April 26, 1998). CHAMBER: Duo for Violin and Piano (1961); Varianti, octet for Flute, Oboe, Clarinet, Bassoon, and String Quartet (1961); Klangfiguren for Wind Quintet (1962); Canto W for Flute (1962); Oculapis: Reflexe for Flute and Piano (1962); Albumblatter for 1 to 10 Flutes (1963); Julianische Minuten for Flute and Piano (1963); Toccata for Flute, Trumpet, Harpsichord, and Piano (1964); Tappeto: Impressionen

for Cello and Harp (1967); Pas de deux for Violin and Guitar (1968); Klang-Szene I for 2 Electric Organs, Live Electronics, 4 Groups of Loudspeakers, Props, and Lights (1970) and II for 5 Ensembles, Live Electronics, Props, and Lights (1971); Textur I for Flute (1971); String Quartet (1971–72); Sotto voce for Flute, Cello, and Piano (1973); Der Abend/Die Nacht for Flute and Cello (1979); Conductus for 4 Percussion (1980); 5 Pieces for Flute (1980); 2 Songs of Palamidi for Flute and Guitar (1980); Nachklange for Guitar (1981); Ballet mecanicjue (Hommage a la laveuse inconnue) for 2 Flutes, 2 Clarinets, Cello, Piano, and Percussion (1984); Nachtfahrt for Open Piano (Tape ad libitum) and Percussion (1984); Winterreise, string quintet (1985; also for String Orch., 1986); Kadenz for Cello (1986–87); Missa (Medea- Interpolation) for 2 Trombones and 3 Percussion (1989); Posaunen im Raum (Medea-Material I) for Trombone Ensemble (1990); Floten im Raum (Medea-Material II) for Flute Ensemble (1990); Medeas Lied for Chamber Ensemble (1991); Moin moin for 7 Percussion and 4 Trombones (1993). KEYBOARD : Piano : 4 sonatas (1959, 1960, 1961, 1962); Klangmodell I and 17 (1971); Textur II (1971); Cadenza for 1 to 3 Open Pianos (1972); Odradek for 2 Open Pianos (1976); 8 Portrats (1977–78); 3 Traumstucke (1978); 7 Haiku (1979); Bruchstucke zur Winterreise (1985); ”Und wenn die Stimme…” (1986); 4 Bagatellen (1989). O r g a n : Improvisation I (1962): Fragment (Kyrie eleison) (1980); Gloria: Fragment II (1986). VOCAL: Halfte des Lebens for Chorus and Instruments (1959); 7 Haiku for Soprano, Flute, and Piano (1963); Fragment: Sybille for Baritone, Flute, Viola, Cello, and Piano (1963); Epitaph: Tich Yuang Tuc for Soprano, Clarinet, and Chamber Ensemble (1963); Melancolia: Magische Quadrate for Soprano, Chorus, and Orch. (1967–68); ”…wenn aber…”: 9 Fragmente for Baritone and Piano (1969); Still: Mikrodrama I for Speaker, Flute, and Props (1972); A & O (Textur III): Mikrodrama II for Speaker, Microphone, Loudspeaker, Props, and Tape ad libitum (1973); Anna K. Informationen uber einen Leichenfund: Mikrodrama III for Speaker, Tape, Bass Drum, and Cello (1974); Szene uber einen kleinen Tod for Woman’s Voice, Flute, and Cello, and Cymbal and Tape ad libitum (1975); Unterwegs: 7 Stationen for Soprano and Piano (1978); Auf schmalem Grat, Requiem for 6 Voices and Tam-tam (1978); Itke-Songs for Voice and Accordion, or Guitar, or Piano (1978); Medea: Monolog for Soprano and Chamber Orch. (1979–80).

—John Chilton, Who’s Who of Jazz/Lewis Porter