Christian Döbereiner

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Christian Döbereiner 1906 with a viola da gamba by Joachim Tielke, Hamburg 1683 (H 21)

Christian Döbereiner (born April 2, 1874 in Wunsiedel , † January 14, 1961 in Munich ) was a German cellist , gambist , conductor and music writer. He is one of the most important pioneers of historical performance practice in the early 20th century.

Life

Döbereiner with cello (1893)

Christian Döbereiner was born on April 2nd, 1874 on the tower of the town church in Wunsiedel as the son of the town music director and head of the town piping house Johann Döbereiner. After his first musical training with his father, at the age of 12 he already worked as a violinist and trumpeter in the local town band and with the tower music. At the Preparatory School, he attended lessons in harmony and received his first skills in organ playing from the organist of the town church, the main teacher of Wunder. From 1889 to 1895 he studied at the Munich Kgl. Academy of Tonkunst Violoncello with Josef Werner , counterpoint and composition with Josef Gabriel Rheinberger and theory with Ludwig Thuille . After spending a year in 1895 Kaimorchester and 1896, another in the Bavarian court orchestra was active, he was on his way to Greece, where he in September 1897 as professor of cello, piano - Ensemble and choir singing at the Athens Conservatory was appointed. In 1898 he then went to the court orchestra in Karlsruhe as a deputy solo cellist for a year. On January 1, 1899, he returned to Munich and was there Kgl. Court musician. In 1908 he was appointed chamber musician. From 1926 to 1929 he was also deputy solo cellist in the Munich court orchestra. Döbereiner worked as a musician at the National Theater in Munich until 1939 . Döbereiner also wrote for the Nazi magazine Musik im Kriege .

On May 24, 1956, he received the Federal Cross of Merit on ribbon.

He published several textbooks, including a cello and a viol school. As the author of numerous scientific articles in various specialist journals, he has also dealt theoretically with the problems of historical performance practice. As a performing musician and conductor, he was active until the end.

With his wife Anna Barbara geb. Schremmel, whom he married on December 31, 1898 in St. Anna (Munich / Lehel), and his three children he lived in Munich on Thierschstrasse until his death. His grave is in Munich's Ostfriedhof (burial ground 66, row 8, no. 6).

Döbereiner is considered to be the resurrection of the gamba and the baryton ; two historical string instruments that have been forgotten up to now. He was made aware of the viol in his cello studies by his teacher Werner, who took a precious and artistically decorated example of the Hamburg instrument maker Joachim Tielke from 1691 , which was elaborately decorated with tortoiseshell, ivory, ebony and silver, for study purposes at the Royal Academy of Tonkunst brought. This instrument came to Munich with Elector Karl Theodor von Mannheim in 1781 and became the property of the Bavarian National Museum in 1857 . The Tielke viol was a primary trigger for Christian Döbereiner to return to the viola da gamba and early music. From then on he devoted a large part of his time to intensive occupation with this instrument and thus developed into a respected specialist for the viol.

Services

German Association for Early Music

One of the most important institutions for the entire early history of the revival of early music was the German Association for Early Music . As artistic and musical director, Christian Döbereiner was largely responsible for the success of this ensemble. The association was founded in 1905 by the lawyer Ernst Bodenstein in Munich with the intention of providing the audience with the music of the 17th and 18th centuries in their original form, using the instruments commonly used at the time, such as the viola da gamba, the viola d ' amore or the harpsichord known and familiar. The line-up in the early days consisted of Johanna Bodenstein (soprano), Herma Studeny ( violin ), Emilie Frey (harpsichord, fortepiano), Ludwig Meister (violin, viola , viola d'amore) and Christian Döbereiner (viola da gamba, violoncello). After a short time Elfriede Schunck took over the part of harpsichordist. In a contemporary report on the group, the other name appears: Marie von Stubenrauch. The instruments used consisted of old and new instruments. The old ones were, however, sometimes significantly influenced in their degree of originality by renovations. The new instruments also included "stylish new constructions" such as the harpsichords by the Munich piano maker Karl Maendler .

The German Association for Early Music in Rococo Costumes

The first concert of the association took place on November 18, 1905 in the great hall of the Society Museum in the Portia-Palais . The members played in costumes from the Rococo period. This first concert met with great acclaim. After many other successful concerts all over Germany (Augsburg, Freiburg i. Br., Berlin, Dresden, Leipzig and others) as well as in neighboring countries (Austria, Switzerland or Spain), a Munich orchestra for early music emerged in 1907. Altogether this gave rarely and only concerts in Munich. Under the direction of Academy Professor Bernhard Stavenhagen , the first appearances also took place with a small original line-up on December 3, 1906, and on January 4 and March 3, 1907.

With the beginning of World War I , the German Association for Early Music dissolved.

Other ensembles

After the end of the First World War there was an association for the care of old music e. V. , in which largely the same protagonists were active.

Christian Döbereiner, who was extremely committed in all of these groups and often in charge, was also the outstanding figure in other ensembles. After the dissolution of the German Association for Early Music , he founded the Döbereiner Trio , also known as the Trio for Early Music or the Döbereiner Trio for Early Music . In addition to himself playing the viol, Anton Huber (violin, viola d'amore) and Johannes Hobohm (harpsichord) also played there. Nevertheless, later appearances under the name Munich Association for Old Chamber Music , Munich Association for Old Classical Music or Munich Association for Old Music are documented. On these occasions Döbereiner played in different line-ups with Li Stadelmann (harpsichord), Johannes Hobohm (harpsichord), Anton Huber (violin and viola d'amore), Karl Rittner (violin) and Gustav Kaleve (flute).

Performances of early music in Munich under Döbereiner's direction

Döbereiner was also active in a variety of ways as a conductor and organizer of numerous events on early music. In this context, Döbereiner's performances of the Brandenburg Concerts by JS Bach should be mentioned, which he carried out a total of eight times as a cycle and with the "original cast" in Munich from 1924 after a few individual performances. Like the Concerto in C major for two and three harpsichords and the Concerto in A minor for four harpsichords by JS Bach, these are, according to JS Bach, "for the first time since Bach's time in the sound conception of its creator". He also performed Antonio Vivaldi's Concerto for four violins ( Concerto grosso op. 3 No. 10 in B minor ) for the first time in 1917 and subsequently performed the arrangement of Bach for four harpsichords. A performance in which four harpsichords were actually used was only possible in 1922 with the help of the instrument maker Karl Maendler. Concert grand pianos were used at the first concert in 1917 because there were not so many harpsichords available in Munich at that time. The four harpsichordists in 1922 were: Elfriede Schunck, Li Stadelmann, Gabriele von Lottner and Julia Menz . Döbereiner played numerous other appearances with the pianist and harpsichordist Li Stadelmann. He had a long-standing friendship with her.

Participation in other early music performances in Munich

Through Döbereiner's participation in the first unabridged performance of Johann Sebastian Bach's St. Matthew Passion under Felix Mottl , on Palm Sunday, March 24, 1907, the viol is "for the first time since Bach's time" in the aria for viola da gamba and bass Komm sweet cross as well as in the tenor recitative Mein Jesus is silent about false lies silently used again. In addition to the viola da gamba, other historical instruments were also used: oboe da caccia (Josef Schunck and Michael Uffinger), oboe d'amore (Karl Millé) and flauto ( Heinrich Scherrer ).

Döbereiner also worked as a harpsichordist in the performance of Georg Friedrich Handel's oratorio Israel in Egypt by the Concert Society for Choral Singing on April 2, 1925 under Hanns Rohr. In 1936 he appeared for the first time as a baryton player in Joseph Haydn's Divertimento No. 113 for baryton, viola and cello . Döbereiner was probably the first to use the baryton again in early music performances in the 20th century.

Teaching subject old instruments and old chamber music at the Academy of Music

Another initiative to maintain early music was, after a single gamba course at the State Academy of Music in Munich in the school year 1920/1921, the introduction of lessons in ancient chamber music in the school year 1921/1922, which was initiated by Christian Döbereiner. The viola da gamba course, which was firmly included in the curriculum, became the main subject and Döbereiner became one of the first lecturers for early music at a German university. He himself was a student of the academy and at that time the leading figure in Munich when it came to performing early music as faithfully as possible. He held the teaching position for viola da gamba until September 1924. His students at the academy included Fritz Seiler, Christian Klug, Hans Knörl, Elisabeth Kluge and Willi Schmid, the founder of the Munich Viola Quintet .

Nevertheless, the gamba course encouraged the school year 1921/1922 to offer further main subject courses with old instruments: Li Stadelmann took over a harpsichord course, a viola d'amore course Anton Huber and a course for oboe da caccia Karl Millé. In these classes it was not only possible to learn how to play the forgotten instruments; The ornamentation of early music was also part of the teaching program in order to impart further knowledge of historical performance practice. In 1952 Döbereiner gave guest lectures on the performance of early music and ornamentation at the University of Music in Munich.

Munich Bach Festivals and Munich Bach Association

On September 20, 1925, Christian Döbereiner organized the First Munich Bach Festival , at which he also acted as director. Vivaldi's violin concerto mentioned above, Bach's arrangement of the same, the Brandenburg Concerts and various other works by Bach and his contemporaries were also heard there. One of the highlights was the premiere of the re-performance of Actus tragicus by JS Bach with two recorders . The recorder parts were taken over by the Munich sculptors Heinrich Düll and Georg Pezold . They were members of the Bogenhauser Künstlerkapelle - a Munich amateur ensemble that had been playing almost exclusively with original woodwind instruments from the 17th to 20th centuries since the 1880s. The ensemble also performed Funny Field Music by Johann Philipp Krieger . The participation of the flutes was praised in numerous press articles. This Bach Festival was Döbereiner's work alone. It was not an official event of the Neue Bachgesellschaft Leipzig. Only two years later, on his initiative, the 15th German Bach Festival of the New Bach Society was officially held in Munich. While the first festival in 1925 was devoted exclusively to historical performance, the second in 1927 was juxtaposed with contemporary interpretations. In 1928 he would also be in charge of the Nuremberg Bach Festival.

In 1934 Christian Döbereiner joined the board of directors of the Munich Bach Society . This emerged in 1918 from the Bach Association founded in 1910 by the composer and theory teacher Alfred Stern. Ludwig Landshoff, who also tried to achieve historical performance practice in Munich, often together with Döbereiner, was the first conductor there for over 10 years. In 1934, the Bach Association changed its statutes, presumably at the instigation of Paul Ehlers, and became part of the Kampfbund für deutsche Kultur , Landesleitung Südbayern and Oberpfalz. At that time Ehlers was the country leader of the Kampfbund and chairman of the Bach Society. In the same year, Döbereiner took over the management of the chamber music ensemble from Carl Orff , who left the Bachverein at the end of 1934 after having initially worked together as a conductor. He held this office for ten years.

At the Bachverein's summer festival from July 15 to 18, 1934 in Munich's Nymphenburg Palace, performances of JS Bach's cantata Let us worry, let us watch and the cantata Schweigt silent, did not chat took place in scenic form under Döbereiner's direction . The pieces just mentioned were performed in the same form at the Munich Bach Festival in 1935 . During his time as conductor of the Munich Bach Society, Döbereiner was in charge of numerous events in the context of Nazi cultural policy, such as the Johann Sebastian Bach Celebration in 1934 , the Munich Bach Festival in 1935 and many other party-related concert events.

Historical performance practice

Christian Döbereiner is one of the most important and persistent representatives of historical performance practice in the early 20th century. We owe him numerous performances of early music, in which the old instruments intended for this purpose were sometimes used again for these pieces for the first time. His commitment is the cornerstone for many further attempts and efforts in the field of historical performance practice.

Nevertheless, precisely because of his consistently proclaimed appeal to “preserve the musical style of the time” by performing “in the original line-up” and above all using the “original instruments”, his approach must be examined more closely and, ultimately, criticism of his inconsistency with regard to some details . According to Dieter Gutknecht , "the degree of originality of the instruments is rather low". The harpsichords used by the association, but also by Döbereiner at his own events, were mostly by Karl Maendler. He finished his first harpsichord in 1907. While he oriented himself on historical models with this and the following instruments, he appeared in public at the beginning of the 1920s with novel-looking productions, which were referred to as "Bach pianos". These "new constructions" were also used at Döbereiner's events, for example the 1925 Munich Bach Festival.

With regard to the “originality” of the instruments, especially the viol he played, Döbereiner accepted and defended unusually clear concessions. For example, he played the viola da gamba, which, as a historical instrument, is actually fretted without frets. He explains this fact as follows:

"" Thorough study of the old way of playing gives me, as a connoisseur and expert, the right and duty to deviate from the previously common way in some technical details. [...] This new technique develops naturally from the old way of playing and thus does justice to the essence of old viola music. ""

- Döbereiner 1936, p. VII.

Elsewhere he writes that the frets "belong to the most essential of the lute and not to the most essential of the viol".

With regard to the often falsely asserted that the violas and violins belonged to the same family, he expressly emphasizes in his gamba school that this view “was typical of the incorrect view prevailing at the time, that the cello emerged from the viola da gamba represents an improvement and perfecting of this instrument. "

Accordingly, he did not count the violin violin family, but in principle acted exactly in this direction by leaving out the frets. In doing so, he modified one of the most important differences that make up the separation of instrument families. In his opinion, the frets were "only primitive, handcrafted aids of their time , which disappeared from the stringed instruments with the advancement of playing technique in the course of the 18th century." He also states: " Karl Friedrich Abel already played without frets" as he did on one Figure should be seen in his school. He misunderstood the necessity of the frets for the characteristic tone of the viol, just as he probably underestimated the importance of the under-grip position, which is so crucial for the balance of the bow stroke. Döbereiner writes in summary:

“The question of whether to play with frets or without frets, whether to play with an upper or lower grip bow position, is not an artistic one, but rather one of expediency. External aids never determine the essence of playing the viola. What is essential is a lively, intellectual reproduction of the old gamba music, with due observance of all stylistic laws and other imponderables, with the help of the new tone tool that is created in the sound. Perseverance must not lead to solidification. 'There is no rule in art that cannot be abolished by a higher one,' says Beethoven, and in the development of art, practice has priority over theory. ""

- Döbereiner 1950, p. 61.

His activities in the name of historical fidelity must therefore also be viewed with a thoroughly critical eye because of such statements. A particularly significant example of this is his commentary on a section on the frets question in a scholarly work on the viola da gamba. In this work, “the polemicism is that the frets exert a significant influence on the sound characteristics of the viol. (It was probably forgotten to add that in order to preserve the 'unadulterated, old' style of playing the gambist also had to play in Baroque costume with an allonge wig.) “Paradoxically, Döbereiner himself often played in Rococo costume, as photos and concert reports show.

When it comes to the fundamental question of casting, Döbereiner is likely to have mostly been careful to adhere to the original specifications as far as possible. This is often emphasized by him and, especially in comparison to the Paris group Société des instruments anciens of Henri Casadesus, which was operating at the same time, repeatedly emphasized as a significant difference. Numerous press reports confirm and praise this fact. However, according to the current state of research, apart from the mention of the recorders at the Bach Festival in 1925, there is no explicit evidence that other historical wind instruments such as trumpets , horns or even double reed instruments were used at concerts . It can therefore be assumed that modern instruments were used.

Furthermore, it remains to be investigated to what extent the sheet music used in Döbereiner's performances deviates from the original compositions. For example, he transposed Giuseppe Tartini's Gamba Concerto from the original key of D major to G major for the performances.

Christian Döbereiner must nevertheless be seen as one of the most energetic protagonists and above all as a pioneer of historical performance practice, not only for the Munich area. His very early, substantial work in this area is - despite the inadequacies and contradictions - of enormous value for today's performance practice of early music, since attempts to perform with original instruments or reproductions were certainly still an absolute rarity at that time. For early music performances with a small cast and with original instruments, there has been in principle neither a comprehensive scientific state of research nor a technically comprehensively informed audience. In addition, the musical life of the early 20th century was still dominated by a late romantic aesthetic of monumental sound.

For many other contemporary ensembles, such as the Paris Société, the sheer curiosity and exoticism of the old instruments often played a greater role than the interest in the possibilities of attempting to reconstruct early music. There was no doubt that Christian Döbereiner had this endeavor. His efforts must be seen in the context of the circumstances at the time and must not be judged by the standards of today's possibilities. It was his merit to recall and reintegrate old instruments as such (the structural condition is secondary in this case), contrary to the aesthetics prevailing at the time, and to reintegrate them into the collective memory of musical practice and to do the initial persuasion for a return to a smaller one To perform early music practice.

Works (selection)

Döbereiner has written two instrumental pedagogical textbooks (school for violoncello and school for viola da gamba) as well as numerous articles and contributions on early music in newspapers and scientific magazines. In addition, he has also worked as a composer and arranger. Most of his compositions are only available in manuscripts. However, a large number of his adaptations have been published and are still available today from the respective publishers.

Compositions

  • Bourré in D major for viola da gamba (and harpsichord or 2 viola da gamba).
  • Cello Concerto for Violoncello and Piano.
  • The wanderer in the sawmill . Composition for baritone solo and male choir.
  • The rose, the lily, the dove, the sun . Lied von Heine, for voice with piano accompaniment.
  • The truth is forever . Composition for male choir.
  • Festival march for large orchestra.
  • Minuet in D major for viola da gamba and harpsichord.
  • Minuet in D major, Trio in G major and Bourré in D minor for viola da gamba and piano.

Edits

Concerts

  • Bach, Johann Christian: Concerto in E flat major, op.7, No. 5 for harpsichord (or piano), 2 violins and violoncello, Peters, Leipzig 1927.
  • Bach, Johann Christian: Concerto in B flat major, op. 13, No. 4 for harpsichord (piano), 2 violins, violoncello and bass, ed. v. Christian Döbereiner and Ludwig Landshoff, Peters, Leipzig 1933.
  • Bach, Johann Christian: Concerto in D major, op.13, No. 2 for harpsichord (piano), 2 violins, bass (cello / double bass), 2 flutes, 2 oboes and 2 horns (ad.lib.), Ed. v. Christian Döbereiner and Ludwig Landshoff, Peters, Leipzig 1933.
  • Ditters von Dittersdorf, Karl: Concerto in A major, for harpsichord and string orchestra, Nagels Musikverlag.
  • Telemann, Georg Philip: Concerto in E major for violin, viola da gamba (cello) and harpsichord, Peters, Leipzig 1927.

For violoncello and piano

  • Boccherini, Luigi: Rondo from the quintet in C major op.37 for 2 violins, 2 cellos and viola, Dennerlein, Nuremberg 1912.
  • Tartini, Giuseppe: Grave from the Concerto per viola da gamba, Dennerlein, Nuremberg 1912.

For viola da gamba (or viola d'amore) and basso continuo

  • Abel, Karl Friedrich: Sonata in E minor, Schott, Mainz 1928 (Cello Library No. 68).
  • Hammer, Franz Xaver: Sonata No. 5 in D major, Schott, Mainz 1935 (cello library No. 80).
  • Kühnel, August: Sonata No. 7 in G major, Schott, Mainz 1928 (cello library No. 69).
  • Kühnel, August: Sonata No. 8 in A major, Schott, Mainz 1931 (cello library).
  • Kühnel, August: Sonata No. 9 in D major, Schott, Mainz 1928 (cello library No. 70).
  • Marais, Marin: Suite and “Couplets des Folies d'Espagne”, Schott, Mainz 1933 (Cello Library No. 79).
  • Marais, Marin: Suite in D minor, from the "Pièces de viole avec la basse continue", new edition for viola da gamba or violoncello and harpsichord or piano, Schott, Mainz 1934 (Antiqua).
  • Ortitz, Diego: Recercada No. 2, decorations over the soprano of the chanson "Doulce memoire" by Sandrin, edition for viola da gamba a. Harpsichord, Schott, Mainz 1936 (Antiqua).
  • Simpson, Christopher: "The Division-Violist", from it: Variations on two bass themes, Schott, Mainz 1936.
  • Stamitz, Carl: Sonata for Viola d'amore, Schott No. 1540, Mainz 1931.

Trios with basso continuo

  • Bach, Johann Sebastian: Trio-Sonata in C major (BWV 1037) for 2 violins and basso continuo, cello (viola da gamba) ad lib., Schott, Mainz 1938 (previously attributed to Johann Sebastian Bach. The composer is, however, according to BWV edition 1990 probably Johann Gottlieb Goldberg)
  • Buxtehude, Dietrich: Sonata in D major for violin, gamba and basso continuo, Breitkopf & Härtel, 1926 (Collegium Musicum No. 53).
  • Buxtehude, Dietrich: Sonata No. 6 in E major, op. 2, for violin, viol and basso continuo, Nagel, Hanover 1935 (Nagels Musikarchiv No. 117).
  • Buxtehude, Dietrich: Trio-Sonata in A minor op. 1, No. 3 for violin, gamba and basso continuo, Schott, Mainz 1929.
  • Leclair, Jean Marie: Trio-Sonata VII from op. 2, D major for violin or flute, viola da gamba (or violoncello) a. Harpsichord (or piano), Schott, Mainz 1929.
  • Leclair, Jean Marie: Trio-Sonata VIII from op. 2, D major for violin or flute, viola da gamba (or cello) a. Harpsichord (or piano), Schott, Mainz 1934 (Antiqua).
  • Lotti, Antonio: Sonata for flute, viola da gamba and basso continuo (harpsichord), Zimmermann, Leipzig 1928.
  • Stamitz, Johann: Orchestra Trio No. 1 in C major, Schott, Mainz 1937.
  • Stamitz, Johann: Orchestra Trio No. 5 in B flat major for 2 violins and violoncello with double bass; Viola and harpsichord (piano) ad lib., Edition Schott, Mainz 1937.

String Trios

  • Haydn, Joseph: Divertimento in C major, No. 109, Schott, Mainz 1939.
  • Haydn, Joseph: Divertimento in D major, No. 113, for baryton (or viola da gamba), viola and violoncello, Schott, Mainz 1939.

Sonatas of 4

  • Reincken, Johann Adam: Sonata VI from “Hortus musicus” (1688) for 2 violins, viola da gamba and basso continuo, Breitkopf & Härtel 1952 (Collegium musicum).
  • Telemann, Georg Philip: Sonata à 4, per flauto traverso, due viole di gamba et cembalo, Schott, Mainz 1930 (Antiqua).

Monographic writings and articles

  • 50 years of early music in Munich. A memorandum for the revival of ancient music . Munich 1955.
  • Notes on Ornaments of Early Music. In: New magazine for music. Volume 101, No. 4 (April 1934), pp. 383-387.
  • Comments on Antonio Vivaldi's Concerto for four violins and Joh. Seb. Bach's Concerto for Four Harpsichords. In: New magazine for music. 111. Jg., No. 6 (1950), pp. 305-309.
  • It is attuned too high! A reminder call from Christian Döbereiner, Munich. In: magazine for music. 115. Vol. 7 (1954), pp. 398-402.
  • My viol school. In: The pond garden. No. 2 (February 1931), pp. 14–15 (= supplement to Melos. Zeitschrift für Musik , 10th year, issue 2, February 1931).
  • School for the viola da gamba . Schott, Mainz 1936.
  • About the execution of the dotted notes in JS Bach's Fifth Brandenburg Concert. In: Music in War . Volume 1, issue 11/12 (February / March 1944), pp. 215-217.
  • About the different moods. A contribution to the question of normal mood. In: New magazine for music. 105th vol., No. 3 (March 1938), pp. 250-253.
  • About the viola da gamba and its use by Joh. Seb. Brook. In: Rheinische Musik- und Theaterzeitung. XIV vol., No. 37/38 (September 13, 1913), pp. 505-507.
  • About the viola da gamba and its use by Joh. Seb. Brook. In: Rheinische Musik- und Theaterzeitung. XIV vol., No. 40 (October 4, 1913), pp. 538-540.
  • About the viola da gamba and its use by Joh. Seb. Brook. In: Bach yearbook 1911. ed. vd Neuen Bachgesellschaft, Leipzig 1912, pp. 75–85.
  • About the viola da gamba and the revival of old music on old instruments. In: magazine for music. 107th volume, issue 10 (October 1940), pp. 602-606.
  • Cello school . Dennerlein, Munich 1910.
  • On the renaissance of early music . Berlin-Halensee / Wunsiedel-Ofr. 1950 (Hesse's Handbooks of Music Volume 101).

Articles in programs

  • "The revival of old music on old instruments ..." . In: Program booklet for the festive music of the Munich Bach Society in the Bayerischer Hof concert hall: “From Johann Sebastian Bach to Wolfgang Amadeus Mozart”, on October 14th and 16th, 1936, pp. 7-11.
  • Introduction. In: Bach Festival Book for the Bach Festival organized by the city of Nuremberg from July 13th to 15th, 1928, pp. 38–39.
  • Explanations about the musical victim. In: Program for the Munich Bach Festival from June 13 to 18, 1950, pp. 28–30.
  • About Johann-Sebastian Bach's Brandenburg Concerts. In: Program for the Johann Sebastian Bach Celebration from April 11 to 15, 1934 in Munich, pp. 4–8.
  • About Joh. Seb. Bach's Brandenburg Concerts. In: Program for the anniversary concert on the occasion of the 25th Acting as a revival of the viol playing and old musical art of Christian Döbereiner in the “Bayer. Hof ”on Wednesday, December 3, 1930, pp. 3–4.
  • To the works of the Bach Festival to be performed. In: Festival and program book for the Bach Festival in Munich from 19 to 21 September 1925 as a commemoration of the 175th anniversary of the master's death, pp. 15-20.
  • For the introduction. In: Program book for the 45th cycle of the Harms' Chamber Concerts on July 7, 9 and 11, 1924 in Freiburg i. Br., Pp. 2-9.
  • For the introduction. About old music instruments. In: Program book for the two Bach evenings on September 10, 1924 in the Bayerischer Hof and on September 12, 1924 in the Odeon, pp. 6–9 (reprinted from the Münchner Neuesten Nachrichten of September 7, 1924).
  • For the introduction. About the Brandenburg Concerts Joh. Seb. Bach's. In: Program book for the two Bach evenings on September 10, 1924 in the Bayerischer Hof and on September 12, 1924 in the Odeon, pp. 4–6.
  • [Information text without title]. In: Program for the 2nd festival concert of the festival summer in Munich: “Courtly festival music in Schleißheim Palace” on August 3, 1938.
  • [Information text without title]. In: Program for the Dietrich Buxtehude celebration on November 2, 1937 in the Herkulessaal of the Residenz.
  • [Information text without title]. In: Program for the concert of the Bach Society: Georg Friedrich Händel in Rome on November 12, 1939.
  • [Information text without title]. In: Program for the concert of the Bach Society: Joseph Haydn at the court of Prince Nicolaus Esterházy on December 4, 1951.
  • [Information text without title]. In: Program for the concert of the Bavarian People's Education Association for the 80th birthday of Christian Döbereiner: Music at the court of the Electors of Bavaria on April 3, 1954.
  • [Information text without title]. In: Program for the concert of the Nuremberg Madrigal Choir and Chamber Orchestra: VII. German-Italian concert: Georg Friedrich Handel in Rome on April 16, 1940.
  • [Information text without title]. In: Program for the concert of the Nuremberg Madrigal Choir and the Mozart Association e. V. 1829: Master around the young Mozart on January 11, 1942.

literature

Lexicon article

  • Döbereiner, Christian. In: Brockhaus Riemann Musiklexikon . Vol. 1, ed. v. Carl Dahlhaus and Hans Heinrich Eggebrecht, Mainz / Wiesbaden. 1978, p. 329.
  • Döbereiner, Christian. In: Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 2: C - Elmendorff. Herder, Freiburg im Breisgau a. a. 1979, ISBN 3-451-18052-9 , p. 329.
  • Döbereiner, Christian. In: The new music dictionary . According to the Dictionary of modern music and musicians. Edited by A. Eaglefield-Hull, translated by Alfred Einstein, Berlin 1926, p. 153.
  • Döbereiner, Christian. In: German Biographical Encyclopedia of Music . Vol. 1, edited by Bruno Jahn, Munich 2003, p. 167.
  • Döbereiner, Christian. In: German sound artists and musicians in words and pictures . 2nd edition, ed. v. Friedrich Jansa, Leipzig 1911, p. 115.
  • Döbereiner, Christian. In: Diccionario de la musica labor . Edited by Joaquín Pena and Higinio Anglés, Barcelona a. a. 1954, pp. 742-743.
  • Döbereiner, Christian. In: Music in the past and present . Vol. 3, ed. v. Friedrich Blume, Kassel / Basel 1954, Sp. 619–620 (Author: Christian Döbereiner).
  • Döbereiner, Cristiano. In: Dizionario universale dei musicisti . Vol. 1, ed. v. Carlo Schmidl, Milan 1938, p. 452.
  • Döbereiner, Christian. In: Handbook of German Musicians. 1933-1945 . Edited by Fred Prieberg CD-ROM, self-published 2004, p. 8256.
  • Döbereiner, Christian. In: Hugo Riemanns Musiklexikon . Vol. 1, eleventh edition. edited by Alfred Einstein, Berlin 1929, p. 411.
  • Döbereiner, Christian. In: Kürschner's German Musicians Calendar 1954 . Second edition. of the Musicians Lexicon, ed. v. Hedwig and Erich Hermann Mueller von Asow, Berlin 1954, Sp. 207-208.

Monographs and Articles

  • Academy of Music Art Munich (Ed.): Forty-seventh annual report of the Academy of Music Art in Munich . Munich 1921.
  • Akademie der Tonkunst München (Ed.): Forty-eighth annual report of the Akademie der Tonkunst in Munich . Munich 1922.
  • Berrsche, Alexander: Comforter Musica. Collected essays and reviews . Munich 1942.
  • Bodenstein, Ernst: German Association for Early Music . Munich 1906 (brochure).
  • Grill, Tobias: Christian Döbereiner and early music in Munich. In: Literature in Bavaria , ed. v. Dietz-Rüdiger Moser and Carolin Raffelsbauer, 24th year, No. 94, Munich (December 2008).
  • Grill, Tobias: The reception of early music in Munich between approx. 1880 and 1930 . Munich 2007 (LMU Publications, History and Art Studies No. 26, edited by Günter Heischmann, Hubertus Kohlen and Winfried Schulze) (PDF 12 MB) .
  • Gutknecht, Dieter: Studies on the history of the performance practice of early music. An overview from the beginning of the 19th century to the Second World War . Extended and revised second edition. Cologne 1997.
  • Istel, Edgar: Music Report Munich. In: Journal of the International Music Society , 7th year, issue 3 (1905), pp. 105-107.
  • Kater, Michael H .: Composers of the Nazi Era. Eight portraits . New York 2000
  • Ketterer, Ralf: The instrument maker Karl Maendler and the further development of the "Bach piano" . In: Monthly indicator. Museums and exhibitions in Nuremberg , No. 263, February 2003, ed. v. G. Ulrich Großmann and the Bavarian National Museum, pp. 6–7 (PDF 160 kB) .
  • Moser, Dietz-Rüdiger: Bach in Bavaria. Contributions to a history of Johann Sebastian Bach's reception in Upper Germany . Munich 2000 (companion volume to the exhibition "Bach in Bayern" of the Institute for Bavarian Literature History of the LMU Munich and the Stadtsparkasse Munich).
  • Munich Bach Association V. (Ed.): Program for the Munich Bach Festival for the 250th birthday of the master from April 4 to 18, 1935.
  • Munich Bach Association V. (Ed.): Program for the summer festival of the Münchner Bach-Verein e. V. from July 15 to 18, 1934.
  • Munich Bach Association V. (Ed.): Program for the Johann Sebastian Bach celebration in Munich from April 11th to 15th, 1934.
  • Richter, Klaus Peter: The work under the spell of its performance history. JS Bach in Munich. In: Festschrift for the 65th Bach Festival of the New Bach Society Leipzig , ed. v. Neue Bachgesellschaft Leipzig, Tutzing 1990, pp. 57–70.
  • Richter, Klaus Peter: Felix Mottl's arrangement of the cantata “Stay with us, because it will be evening”, BWV 6, by JS Bach and its performance history. In: Johann Sebastian Bach and the southern German area. Aspects of the history of Bach's impact. Symposium of the 65th Bach Festival of the New Bach Society Munich 1990 , ed. v. Hans-Joachim Schulze and Christoph Wolff, Regensburg 1991 (series of publications by the University of Music in Munich, vol. 12), pp. 103-108.
  • Schmitz, Eugen: The "German Association for Early Music" . In: Musikalisches Wochenblatt , Volume 37, No. 49 (1906), p. 907.
  • Schmitz, Eugen: The "German Association for Early Music" in Munich. In: Signals for the musical world , 63rd year (1905), pp. 1298–1301.
  • Seidel, Klaus-Jürgen: Between tradition, departure and conformity: Munich and the Academy of Music from 1914 to 1933 . In: History of the University of Music and Theater Munich from its beginnings to 1945 , ed. v. Stephan Schmitt, Tutzing 2005 (Musicological writings of the University of Music and Theater Munich, Vol. 1), pp. 207–312.

Web links

Individual evidence

  1. ↑ List of holders of the Federal Order of Merit (Federal President's Office)
  2. ↑ Eugen Schmitz: The "German Association for Early Music" in Munich. In: Signals for the musical world , 63rd year, Leipzig 1905, p. 1298.
  3. ^ Christian Döbereiner: 50 Years of Early Music in Munich. A memorandum for the revival of ancient music. Munich 1955, p. 7.
  4. ↑ a b Döbereiner 1955, p. 10.
  5. ↑ Döbereiner 1955, p. 9.
  6. ↑ However, it is not certain whether “Flauto” actually refers to a historical recorder or the metal flute in use around the time of the performance.
  7. ↑ Michael H. Kater: Composers of the Nazi Era. Eight portraits . New York 2000, p. 119.
  8. ↑ See: Döbereiner 1936, SV
  9. ^ Dieter Gutknecht: Studies on the history of the performance practice of early music . Cologne 1997, p. 207.
  10. ↑ See: Ralf Ketterer: The instrument maker Karl Maendler and the further development of the "Bach piano" . In: Monatsanzeiger , No. 263, Germanisches Nationalmuseum, February 2003, p. 6.
  11. ↑ Döbereiner 1955, p. 7.
  12. ↑ a b Döbereiner 1950, p. 60.
  13. ↑ Döbereiner 1936, p. XIII.
  14. ↑ Christian Döbereiner: About the viola da gamba and the revival of old music on old instruments. In: Neue Zeitschrift für Musik , 107th year, issue 10, October 1940, p. 606.
  15. ↑ The scripture quoted by Döbereiner is: Joseph Bacher: Die Viola da Gamba. An introduction to the essence of the viol choir and the playing style of the old gamba masters . Kassel 1932, here p. 24.
  16. ↑ Döbereiner 1936, p. VII.
  17. ↑ See: Schmitz 1905, p. 1299 or E. Istel: Musikbericht München. In: Journal of the International Music Society , 7th year 1905, issue 3, p. 106.
personal data
SURNAME Döbereiner, Christian
BRIEF DESCRIPTION German cellist, gambist, conductor and music writer
DATE OF BIRTH April 2, 1874
PLACE OF BIRTH Wunsiedel
DATE OF DEATH January 14, 1961
Place of death Munich