Johanna Doderer
Registered as:
Instrument: piano

Photographer: Nora Schoeller ©

Doderer Johanna


# Title Year of Originsort icon Duration Instrumentation Category
1 5. Klaviertrio 2016
2 Papagenono - Miniatur-Mono-Oper 2011 20m
3 Liederzyklus (10 Lieder) 2009
4 40 sec 2009
5 Studie über Zaha Hadids Gemälde "Vision for Madrid" 2009 16m
6 Werk für Bassklarinette 2009 8m
7 Neues Orchesterwerk - Studie über Zaha Hadids Gemälde "Vision for Madrid" (1992) 2008 20m
8 Wutmarsch für Klavier 2008 4m
9 2. Streichquintett 2008 12m
10 2. Klaviertrio 2008 15m
11 A Kind of Yellow 2008 - 2010 ~ 2h
12 Variation über den Krebsenteich 2008 ~ 6m
13 Der leuchtende Fluss - opera in three acts after a text by Wolfgang Hermann 2008 - 2010
14 Mon cher cousin 2007
15 DER GROSSE REGEN - for orchestra 2007 10m
16 Für Solovioline 2 2007 12m
17 Falsch verbunden 2006 15m
18 Astraios - für Mezzosopran und Kammerensemble 2006
19 Fanfare 2006
20 Psalm 2 - Kammerorchesterfassung 2006 12m
21 Für Akkordeon und Streicher 1 2006 14m
22 3 Chorstudien 2006
23 1 Symphonie 2006 - 2007 40m
24 Orchesterlieder für Mezzosopran und Klavier - nach Texten von Wolfgang Herrmann (Klavierfassung) 2005
25 Orchesterlieder - für Mezzosopran 2005
26 Für Solovioline 2005 ~ 5m
27 Werk für Violoncello und Klavier 2005 ~ 15m
28 Psalm 2 - für Streichquartett 2005 12m
29 Violinkonzert 2004 45m
30 Bolero für 2 Klaviere und Orchester 2004 30m
31 Phantasien für den Grenzwald - für Klavier 2004 8m
32 Toccata - für Orgel 2003 10m
33 Lieder für Bariton und Klavier - nach Texten von Wolfgang Herrmann 2003 12m
34 Strom - Oper in einem Akt 2002 - 2006 1h 50m
35 Ikaros - für Kammerorchester 2002 - 2003 ~ 20m
36 Klaviertrio 2002 15m
37 Messe für Wilhelm Doderer 2002 12m
38 Erwachen III - für 3 Geigen 2001 30m
39 silence I - für Violine und Klavier 2001 15m
40 silence II - für Violine und Violoncello 2001 12m
41 Rondane - Fassung für großes Orchester 2001 15m
42 Rondane - für Kammerorchester 2000 ~ 10m
43 Die Fremde - Oper in einem Akt 2000 - 2001 1h 10m
44 Für ein Obdach am Rand aller Sinne - Lied für Sopran und Klavier nach einem Text von Christine Lavant 2000 10m
45 Für Orchester oder Violoncello Solo 2000 10m
46 Für Orchester - Orchesterstudie 1999 6m
47 Stimmen - für Instrumentalensemble 1999 15m
48 Feuerkreis - für Sopran, Mezzosopran und Vokalensemble 1998 ~ 15m
49 Erwachen II - für drei Geigen 1998 10m
50 Terra - für Sopran und Orchester 1997 23m
51 Psalm - für E-Gitarre und Violoncello 1997
52 Feuerkreis - für Streichquintett 1997 16m
53 Terra - für Sopran und Instrumentalensemble 1997 12m
54 Gazellens Hjerte - für Mezzosopran, Violonchello und Klavier 1996 ~ 15m
55 Rot - nach Texten von Reinhard Kräuter für Sopran und Streichquartett 1996 ~ 15m
56 Vergessene Erde - für gemischten Chor 1995 ~ 4m
57 Skumring - für Instrumentalensemble 1995 ~ 30m
58 Brennpunkt - für Streicher und jav. Gongs 1994 ~ 25m
59 Psalm - für Streichquartett 1994 ~ 18m
60 Klänge aus einer verlorenen Zeit - für Alt, gemischten Chor, 2 Gläser und Viola 1994 ~ 15m
61 Eine Sonnenfinsternis - für Streichorchester und Pauken 1993 ~ 20m
62 Erwachen I - für 3 Geigen 1993 ~ 8m
63 Der Fall Medea - Oper 1993
64 Zwiespalt - für Flöte und Violoncello 1991 ~ 2m
65 Ziel - für Violine und Violoncello 1991 ~ 2m
66 Stück - für zwei Violinen und Violoncello 1991 ~ 4m
67 Fall 1 - für Flöte, Violine und Violoncello 1991 ~ 4m
68 Fall 2 - für Flöte, Klarinette, Trompete, 3 Pauken/Tempelblock und 2 Celli 1991 ~ 8m
69 Der Verfall - Passion nach Texten von Georg Trakl für Sopran, Chor und Kammerorchester 1991 ~ 20m
70 Ikarus - für Streichorchester 1991 15m
71 Salve Regina 24m

General Information

Year of Birth:  1969
Date of Birth:  18. September 1969
Place of Birth:  Bregenz
Region of Birth: 
Country of Birth: 

The composer Johanna Doderer was born in Austria in 1969. She studied with Beat Furrer, Klaus Peter Sattler and Erich Urbanner. For years, Doderer has been dealing with the issue of dynamics and simultaneity in music. The focus of her creative work is on the opera, on solo and orchestral pieces, and on vocal music.
One of the composer's trademarks is her constant collaboration with various renowned artists: Ulf Schirmer, Patricia Kopatchinskaja and Sylvia Khittl-Muhr are the people who have had the most influence on her quest in finding her own musical language.
In 2006, her opera Strom celebrated its world première in Vienna. The German newspaper Süddeutsche Zeitung wrote: "[…] Doderer succeeded in creating a score of highly unique character, inwardly fully shaped and outwardly full of unbroken energy […]"
On her composition "Mon cher cousin" for soprano and orchestra (performed at the Augsburg Mozart Festival, 2008), The Washington Post wrote: "Her music was so strong and colorful that it rather disturbed the delicate balance of the Classical-era works that made up the rest of Wednesday’s opening-night concert."
Doderer is currently working on her fourth opera, which has been commissioned by the theater in Erfurt, Germany (world premiere in 2010).


PeriodEducationInstrumentTeacherEducation OrganisationLocation
1991 - 1993

lessons with Melody Wu

1991 - 1993
1991 - 1993

private studies in composition

1993 - 1995


1996 - 2000

film and media composition

1996 - 2000



diploma in composition



founder of the ensemble



various music schools: teacher (main subject piano), organising performance opportunities for the piano students

establishment of a choir to perform her own works, rehearsals mainly directed by Doderer

establishment of a string orchestra for performances of compositions by the association "die andere saite", in cooperation with the conductor Nassir Heidarian Rasty

regular work with artists such as Patricia Kopatschinskaja, Sylvia Khittl-Muhr, Ulf Schirmer and Édua Zádory


PeriodAwardCompositionAwarding Organisation

scholarship for composition


promotional award for culture


cultural award


state scholarship for composers


composer in residence



Description of Style

"I like to compare my compositional work to the work of a sculptor. First I collect all the material I need. In the second stage, I process it until only the essential part, the core, remains. However, before a sculptor starts working on his stone, he has to procure his stone (the material). When the sculpture is finished, you can see or sense the strength and form in the structure of the rock, from which the piece has been created."
Johanna Doderer, born in 1969 in Bregenz, but a long time resident of Vienna, has a very special affinity for rocks and stones – she is a passionate climber.
"For me climbing is like reading structures. Touching rocks is like touching the traces of time… and I begin to remember… through joy, strength and concentration a dance evolves. I move in the dynamics of another time and become one with it. Just like music, these movements strike chords in my soul. A key to something new, which simultaneously offers a glance into the deepest abyss. A key to something from the deep past, which erupts in me as a mighty sound. Movements find their own melody and I then write the music to the rhythm of my breathing."
Doderer learned her skills in Graz with Beat Furrer, then later in Vienna with Klaus Peter Sattler and Erich Urbanner. The term is carefully chosen: Doderer particularly values the skills and the disciplined work structures. "Experience, craft, talent, skill. Inspiration and inner spaces. Freedom" – all these are necessary for composing.
"Big, empty spaces. The willingness to cultivate these inner spaces. To make the impossible possible. With the risk of losing ground. Staying down to earth and discipline helps. I, for example, work from eight to twelve and from two to four - just like an accountant." These empty spaces, which imply an openness to all directions, were something Doderer had to fight for: outspoken tonal references, as they sometimes occur in Doderer's compositions, were often frowned at in the music discourse of the 20th and 21st century.These empty spaces, which offer open and infinite possibilities, were something she first had to win for herself. Undeveloped tonal references, which can occur naturally in Doderer's work, are sometimes viewed quite disparagingly in discussions about twentieth and twenty first century music. The composer, however, remains convinced: "It is time to reinvent things. I have had enough conversations about what is and what is not allowed. Of course you can't just copy old styles, but I am increasingly moving away from the heaviness and negativity. I want to make people a little bit happier with my music. Now this sounds very esoteric, but it isn't. I believe that an element of joy has to be possible.  I consciously choose to leave the tristesse of a lot of contemporary music pieces since 1945. I look for challenges elsewhere: to fill a music hall with joy - that is an accomplishment!"
Of course this does not mean that the dark, gloomy and demonic parts are missing in Doderer's music, quite the opposite: her stylistic range sharpens the meaning of all kinds of expression. Johanna Doderer preferably shares her scores with performers that are willing to deal with its specific requirements: "People like Patricia Kopatchinskaja or the conductor Ulf Schirmer and Andrés Orozco-Estrada instantly understood my language and are able to grow beyond the written score. For time and budgetary reasons, it is often not possible that the music is properly performed at premieres - you can be grateful if the whole thing somehow hold together! You can feel very fortunate when the performers contribute with their own style. This may give some a hard time, because sometimes I only have very little written in my scores and a lot is left open for free interpretation."


Johanna Doderer's compositional work and musical terms (Extract of "Haydn and sheer madness", written by Walter Weidninger in: Klangpunkte 28/Spring 09)


For years Doderer has been dealing with the issue of dynamics and simultaneity in music. The focus of her creative work is on vocal music and the opera, as well as on solo and orchestral pieces.

Press Reviews


On "Mon cher cousin" for soprano and orchestra (Augsburg Mozart Festival):
Her music was so strong and colorful that it rather disturbed the delicate balance of the Classical-era works that made up the rest of Wednesday's opening night concert.

The Washington Post 


5. September 2006

Doderer achieved a score of highly distinctive character, internally full of matter and externally full of unbroken energy. 

Süddeutsche Zeitung 


4. September 2006

Intoxicating ecstasies determine the image of this uninterrupted, 90 minutes of music theatre, which - for a long period of time - also appears to be traditional. For Doderer it is about issues, not about cheap effects. Since she understands her craft so well, she is always able to convince with her tightly-knit score that it is possible to create excitement with sound models that follow the late romantic period and can be perfectly linked with forms of "minimal music". 

Die Presse (Walter Dobner) 


27. January 2005

The concert sector had clear highlights with the guest performance of the Bavarian Radio Symphony Orchestra/Mariss Jansons and the portrait concert of the Dornbirn composer Johanna Doderer, who left a lasting impression with the world premiere of her sound-opulent, suggestive violin concerto performed by the Wiener Concert-Verein. 

ÖMZ (Anna Mika) 


15. August 2003

Johanna Doderer is not a theorist, but a full-blooded musician. She has taken the fate of a person - a woman - which apparently moved her and set this emotion into sound. Her music, which only at the end, where the unfathomable murder takes shape, begins to glide into atonality, is characterised by rhythmic conciseness, dramatic tension and high expressivity. 

Vorarlberger Nachrichten (Renate Wagner)

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