Josef Friedrich Doppelbauer

Doppelbauer Josef Friedrich

General Information

Year of Birth:  1918
Date of Birth:  5. August 1918
Place of Birth:  Wels
Region of Birth: 
Country of Birth: 
Date of Death:  16. January 1989
Place of Death:  Salzburg
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

received his first music lessons from his brother Rupert Doppelbauer

1929

private lessons

1930

private lessons

1938 - 1940

composition

1938

school leaving examination

1938 - 1940

lessons with Franz Illenberger

1938 - 1940

lessons with Wolfgang Grunsky

1939

diploma in composition

1940

diploma

1954 - 1956

music education (Anton Dawidowic)

Activities

PeriodActivityOrganisationLocation
1947 - 1957

Church of Wels: choir director and organ player

1951

Bach Choir Wels: reorganization

1957 - 1960

theory teacher

1960 - 1988

professor of organ and composition

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

various performances among others in Graz, Bressanone, Münster, Speyer etc.

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Salzburg Metropolitankapitel

Brixen Music Initiative

Brixen Church

Graz Domkapitel

Church Music School Münster

Orgelbau Klais

Awards

PeriodAwardCompositionAwarding Organisation
1955

Gold Medal "Pro arte et scientia"

1957

Organ Improvisation Competition St. Florian: First Prize

1958

International Composition Contest Gent: First Prize

1960

International Composition Contest for the 900-year anniversary of the cathedral in Speyer: First Prize

1966

promotional award

1967

State Award

1972

Anton-Bruckner-Award

1978

Commander's Cross of Sylvester Medal

1982

1st Class Cross of Honor for Art and Science

1986

Pontificio Instituto die Musica Sacra Rom: Honorary Doctorate

1987

Grand Silver Medal

1988

Golden Medal of Merit

International Composition Contest Haarlem: First Prize

numerous work scholarships

Description of Style

For me, as for Hindemith, tonality is anchored in the human hearing disposition. I was encouraged in this assumption by the observation of non-European folklore. It is said in some circles that tonality is only a hearing convention. This behavioral assertion is largely restricted by the experience and analysis of non-European folklore. [...]
The observable search of many composers to find an own system is nothing but the unconscious search for a third way between the poles of tradition and progressivism. [...] If you take a closer look and free yourself from the resignedly position, you will recognize that it is not the sound material, but the theory, based on the fiction of equal temperature, that is exhausted. [...] If you give up the basis of the temperature, it opens up a wide, yet often unexplored area of sound relations, based on fine levels, which in contrast to mechanical divisions in quarter tones can be quite accurately detected by the ear. [...]
My own approach to such thoughts has led to a cappella choral music, which gave me relevant experiences. In modern choral literature there are parts that are inadequately explained by conventional theories. As an organist, I was also constantly confronted with the problem of the tempered atmosphere of basic registers and the non-tempered atmosphere of the overtone registers (aliquot). This "third way" is not leveling, but differentiates it further.

 

Josef Friedrich Doppelbauer in: Josef Friedrich Doppelbauer on the occasion of his 60th Birthday. Life, work and will. The organ composer. Principles and views. List of Works. - Vienna / Altötting: Doblinger / Coppenrath, 1978