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Johann Friedrich Doles (Composer, Thomaskantor, Copyist, Bach's Pupil) |
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Born: April 23, 1715 - Steinbach-Hallenberg, Saxe-Meiningeen, Thuringia, Germany
Died: February 8, 1797 - Leipzig, Germany |
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Johann Friedrich Doles was leading composer of Protestant church music and Thomaskantor. |
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Life |
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Johann Friedrich Doles was born the son of Johann Andreas Doles (Kantor in Steinbach). Hae studied with his brother Johann Heinrich Doles in Steinbach; and attende the school in Schmalkalden and the Schleusingen Gymnasium, where he availed himself of instruction in singing and in playing on the violin, clavier and organ.
In 1739 he went to Leipzig for a course of theology at the University (not in the register), and while there pursued his musical studies under J.S. Bach. His compositions, however, bear little trace of J.S. Bach's influence. Doles would seem to have been more affected by the Italian opera, with which he became familiar by constaut attendance at performances given for the Saxon court at Hubertsburg. His light, pleasing and melodious compositions, together with the charm of his manners, rapidly brought him popularity at Leipzig. In 1743 the Gewandhaus Concerts were founded (They were then called das grosse Concert, and were held In a private house; they were Interrupted by the outbreak of the Seven Years' War) and on March 9, 1744 he conducted the first performance of his Festival Cantata in celebration of the anniversary of their foundation. In that same year he was appointed Kantor at Freiberg, and co-director of the Gymnasium. In 1748 he wrote there, on the occasion of the hundredth anniversary of the Peace of Westphalia, the Singspiel (school opera), out of which arose the famous dispute between Biedermann, Johann Mattheson and J.S. Bach. In January 1756 he succeeded Johann Gottlob Harrer as Kantor of the Thomasschule and also as director of the two principal churches, which posts he held until 1789, when old age and failing health compelled him to resign them.
In the spring of 1789 W.A. Mozart visited Leipzig, and on April 22 he played on the organ at Thomaskirche, and made his well-known remark to Doles about J.S. Bach's music. It was probably on the same occasion that J.C. Barthel played before Mozart at Doles's house. And in the following year Doles published his cantata to Gellert's words (performed in 1789), Ich komme vor dein Angesicht (Leipzig, 1790), dedicated to his friends Mozart and Naumann. Special interest attaches to this work, because its preface records Doles's opinions as to the way in which sacred music should be treated, and those opinions have little in common with the traditions of J.S. Bach. It is plain, indeed, that although Doles was proud of having been J.S. Bach's pupil, he took no pains whatever, during his directorship at Leipzig, to encourage and extend the taste for his great master's works. J.S. Bach's church music was almost entirely neglected both by him and his successor, Johann Adam Hiller. Doles had a lasting influence as teacher and choir trainer.
Johann Friedrich Doles described himself as J.S. Bach's student in the preface to the Gellert setting Ich komme vor dein Angesicht printed in 1790. The necrology on Doles based on autobiographical records (1797) confirms the lessons with J.S. Bach, "bey dem er viel in der contrapunkt. Setzart gearbeitet hat" (in which he does a lot in the counterpoint. Settart worked). J.S. Bach's personal involvement in Doles' rejection as Kantor in Salzwedel in 1743/1744 indicates close relationships between the two. In the Salzwedeler documents, J.S. Bach is referred to as "patron" of Doles, which is probably synonymous with "teacher". In addition, a student relationship is not mentioned in this context or in the context of the employment in Freiberg and Leipzig. |
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Works |
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A leading composer of Protestant church music, Johann Friedrich Doles wrote at least 160 cantatas, 35 motets, psalms, and several Passions, oratorios and masses. Some cantatas and motets are of the 'figured chorale' type virtually invented by him, simple chorale settings with orchestral ritornellos. He also composed sacred odes, lieder, organ chorales, many of which have been printed, including some sonatas for the clavicembalo and other keyboard music. Reflecting J.S. Bach's influence, his music is carefully crafted, but its style is more melodic. Some pieces are richly ornamented. Among his many works (see Q.-L.) may be mentioned three settings of the Passion-music, according to St. Matthew, St. Mark and St. John, two Te Deums, two Masses, a Kyrie, a Gloria, 1), Salve and a German Magnificat. His Elementary Instruction in Singing had, in its day, considerable reputation as a useful practical method.
References: Koska: A-45; GND: 123906970; Bach Digital: 00001898 |
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Works of Bach he copied [Manuscript No. in Bach Digital / Work / Performance/copying date] |
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D-B Mus.ms. 40372: Carl Heinrich Graun: Kommt her und schaut (die große Passion) GraunWV B:VII:5 [1750]
D-B Mus.ms. Bach P 567: BWV 772, 773, 774, 775, 776, 777, 778, 779, 780, 781, 782, 783, 784, 785, 786, BWV 532/2 (arr. in C) [1790-1797]
D-LEb Go. S. 304: approx. 300 chorales and arias, mostly in four parts, 2 motets, some piano movements, approx. 10 liturgical chants by Doles, Benda, Hertel, etc.
D-LEb Thomana 62 (Depositum im Bach-Archiv): BWV 62 [(figuring, after 1755)]
D-LEb Thomana 93, Faszikel 2 [nach 1750] (Depositum im Bach-Archiv): BWVV 93: continuo part [after 1755] |
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Source:
1. Grove Concise Dictionary of Music (© 1994 by Oxford University Press)
2. Grove’s Dictionary of Music and Musicians (1952 Edition, by Mrs. Edmond Wodehouse)
3. Bernd Koska: Bachs Privatschüler in Bach-Jahrbuch 2019, English translation by Aryeh Oron (May 2020)
4. Bach Digital Website (April 2019)
Contributed by Aryeh Oron (September 2005) |
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Thomaskantors: Thomanerchor Leipzig | Gewandhausorchester Leipzig | General Discussions: Part 1 | Part 2 |
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Use of Chorale Melodies in his works |
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Various chorale preludes for on Auf meinen lieben Gott (CM: Auf meinen lieben Gott) |
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Cantata Herr wie du willst (CM: Aus tiefer Not schrei ich zu dir (II)) |
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Christ ist erstanden Cantata for Choir, Soloists, and Orchestra (CM: Christ ist erstanden) |
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Ach Gott, wie manches Herzeleid , Cantata for Chorus, Soloists & Orchestra (CM: Herr Jesu Christ, meins Lebens Licht) |
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Cantata for Choir, Soloists and Orchestra: Meine Seele erhebt den Herren (CM: Meine Seele erhebet den Herren [The German Magnificat]) |
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O Gott, du frommer Gott , Cantata (CM: O Gott, du frommer Gott) |
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Cantata: In allen meinen Taten (CM: O Welt, ich muß dich lassen) |
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Was Gott tut, das ist wohlgetan , Cantata for choir soloists & Orchestra (CM: Was Gott tut, das ist wohlgetan) |
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Cantata Was mein Gott will, das gscheh allzeit (CM: Was mein Gott will, das g’scheh allzeit) |
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Wir Christenleut, Cantata for Choir, Vocal Soloists & Orchestra (CM: Wir Christenleut habn jetzund Freud) |
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Links to other Sites |
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Johann Friedrich Doles (St. Martin's Chamber Choir)
Johann Friedrich Doles (Wikipedia) [German]
Johann Friedrich Doles (muziekbus) [Durch]
Johann Friedrich Doles (klassiekemusiekgids) [Dutch]
Doles, Johann Friedrich (Bach Digital) |
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Bibliography |
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Sources: J. F. Doles, Kantate über das Lied des seel. Gellert: Ich komme vor dein Angesicht u. s. w., Leipzig 1790, „Vorerinnerung“ (= Dok III, Nr. 944); Dok III, Nr. 1004; Dok V, LN Nr.A 45c, B 517a; Löffler 1929/31, Nr. 42; Löffler 1936, S. 116; H. Banning, Johann Friedrich Doles. Leben und Werke, Leipzig 1939, S. 5–7; Löffler 1953, Nr. 58; MGGo; BJ 2007, S. 23 (S. Langusch); BJ 2017, S. 74–80 (P. Wollny); BJ 2018, S. 37f. (H.-J. Schulze) |
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