None of Döhl’s orchestral works is like any of the others. Each is individual, not adhering to any scheme, neither ‘absolute’ nor ‘programmatic’. Each work moves freely in a sort of in-between world: between ‘purely musical’ form-genesis and ‘extra-musical’ association. This quasi ‘intermediary’ ambivalence is referred to in the titles or sub-titles of the works, they being, in chronological order of composition: 'Melancolia', 'Zorch', 'Ikaros', 'like an attempt to regain speech', 'Tombeau', 'Passion', 'Winterreise, 'Sommerreise', 'Gesang der Frühe'.

"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