Dieter Süverkrüp
Dieter Süverkrüp (born May 30, 1934 in Düsseldorf ) is a German songwriter , cabaret artist and graphic artist .
Süverkrüp is considered to be one of the main founding fathers of the songwriting movement in the Federal Republic. He had his most effective work in the 1960s and 1970s. As a longstanding DKP member, he was a hardliner in the songwriting culture that tended to be leftist . His works were shaped by virtuoso guitar playing, word games and current political references. Today, his songs can therefore often only be understood in a contemporary context. His best-known songs are Die Schröckliche Moritat vom Kryptokommunisten , the excavator operator Willibald and the children's musical Das Auto Blubberbumm .
Life
Youth and early career
Few facts are publicly known about the private life of Süverkrüp. He studied at the Werkkunstschule in Düsseldorf . In total, he worked for an advertising agency for 18 years, most of the time as an art director.
In his spare time he first played jazz guitar in the band Feetwarmers (from 1956 to 1959), with whom he was named Germany's best jazz guitarist at the German Amateur Jazz Festival in 1957. His virtuoso guitar technique and broad artistic expression, which he acquired during this time, also shaped his other publications. Hardly any other songwriter was capable of such musical variability as Süverkrüp occasionally shows. The future Minister of Finance Manfred Lahnstein was one of his band colleagues .
When the rearmament debate began in the Federal Republic of Germany , Süverkrüp began to position himself politically. He described it: “I was born in '34 and was about eleven when the war was over. I've been through a lot from the war and knew very well that war and the military and that sort of thing I definitely don't want. "
He began his career as a political songwriter in 1958 through his friendship with Gerd Semmer , which resulted in several records. Gerd Semmer drew on both the songs of the French Revolution and the Revolution of 1848 , which Dieter Süverkrüp set to music and sang in a congenial way. The chansons , chants , couplets and vaudevilles , which were often popular at the time they were written, usually mock the aristocracy or praise the heroes of the revolution in a coarse tone.
While he did not publish any of his own pieces after 1989, he continued to set those of others to music: These include songs by the anarchist Erich Mühsam ; In 1995 he published an album with texts by the Swedish national poet Carl Michael Bellman (1740–1795), whose texts were translated completely into German for the first time in the same year. Bellman's songs are artistic and rich in variety, their content is often coarse, emphasize the pleasurable and are drawn from the full life. They deal with cheerful sociability, wine, women and song, but often also contain complaints about the transience of beauty and joy and elegiac reflections on death. They portray small dramas from the world of the lower class. Despite their time-bound allusions and their learned metaphor, the songs still work today through their personal tone, their immediate freshness, a deep sense of natural beauty, the combination of realism with humorous and satirical exaggerations, their peculiar mixture of exuberant joie de vivre and gloomy premonition of death as well as the close connection between word and music. Bellman often took the melodies for his songs from popular contemporary pieces of music and adapted them to his needs. Süverkrüp retained this connection between reality and political aspirations in his own early songs.
"Democracy hihihihihihihi": politicization and workers' songs
Together with Gerd Semmer , Arno Klönne and Frank Werkmeister , he founded the pläne publishing house in 1961 . They took the name of the publisher from a magazine of the Red Scouts , which was banned in 1933 and who fought against the rise of National Socialism. The publisher initially only printed books and brochures; For example, song collections for the Easter marchers with songs against the atomic bomb.
Süverkrüps first professional publication followed when he recorded two LPs with songs from the French Revolution for the publisher plan. Together with Gerd Semmer , further recordings followed, on which Süverkrüp wrote the music and Semmer the text. The texts come from Gerd Semmer's collection of poems, Widerworte , which was based on the political chansons of Kurt Tucholsky or Frank Wedekind . They are rich in quotes and collages, often from advertising. The music of Süverkrüps played a much smaller role here compared to the earlier recordings and took a back seat to Semmer's texts. With these releases, the duo was a forerunner of songwriters ; however, they were pretty much alone with this art form in the 1950s.
The two only gained great importance in the course of the Easter March movement in the early 1960s, when the political song was able to gain acceptance again in German consciousness. Since the 1960s, Süverkrüp wrote texts himself and presented these texts at political events such as the Easter marches. During this time he sang both self-written, classic worker songs and songs from the American civil rights movement.
Süverkrüp and Hanns Dieter Hüsch , who meanwhile also worked for the pläne publishing house, couldn't find a record company for their recordings. So they published their own short records with four songs each and sold them from their own apartment under the name “plan.” After sales figures and requirements for production increased, the publishing house became more professional as a music producer; In 1965 the first LP was released: Songs of the European Resistance to Fascism 1933–1963 in a translation by Gerd Semmer . The publishing house became a defining publishing house for the West German left. In addition to Süverkrüp, Hannes Wader , Giora Feidman , Liederjan , Lydie Auvray , Oysterband , Zupfgeigenhansel and Naked Raven have published with him . There the first German publication by Mikis Theodorakis appeared as well as that of the socialist Chilean songwriter Víctor Jara . Süverkrüp used his graphic talent and was responsible for many record covers and the visual design of plans publications. The publisher was always financially self-supporting, but in public it was often thought to be DKP-financed - not least because of Süverkrüp's strong commitment to it.
His first LP with his own pieces, Fröhlich you eat Wiener Schnitzel , did not yet have a closed concept. Songs on her ranged from clowning like a hoarse child's song to a fairly straight forward parody about the general ; The tourist flamenco describes Germans who went on vacation under Franco in what was then Francoist Spain and rediscovered their own sympathies for fascism, while How to open an art exhibition in Düsseldorf already contains the numerous puns that later became formative for many of his texts.
In particular, the debate about the emergency laws shaped many of the early songs. Süverkrüp uncompromisingly criticized the continuities between the time of National Socialism and the young Federal Republic. For him, both rearmament and emergency laws were expressions of old thinking in a new guise. In Night Prayer of a Subject (1966), he listed the groups and tendencies which he believed led to the Emergency Laws and the consequences that law will have:
"We thank you, Lord Bonn, for this law
in the name of decency
on behalf of the industry
on behalf of the old and new Nazis
in the name of doing thirsty police officers
on behalf of the German misery
on behalf of Thiele von Thadden
on behalf of the Teutonic Knights
in Name of the claim to sole representation
[…]
Praise the Lord and the new laws on the state of emergency,
peace, the ashes of freedom, which herewith found death. We happily sacrifice
democracy
hihihihihihihi
to the edge of the bread. "
In the camp song he described a camp that would be set up due to the emergency laws - the description is strikingly similar to that of the Nazi concentration camps. The only essential difference is that in the new camp you can and should freely express your opinion; However, this does not change anything in terms of murder and degradation in the camp. For him, the Federal Republic's democratic and fundamental rights claim was little more than ultimately meaningless “humanitarian”.
The time of National Socialism is still omnipresent for him in the Federal Republic. Many of those involved in the acts resumed high offices, while the surviving victims continued to have an outsider position in society - the German society itself did not want to know anything more about the topic and reveled in the economic miracle . In the simply performed Kirschen auf Sahne (1965) he describes an everyday scene:
"In the little cafe
of shaky man sits
with the scar on the eye
that looks the lovers
so friendly at
this eye was healing
in five years Kazett
looks at the next table cream
with cherries, the lady
is beautiful, but fat
cherries on cream
trail of blood in the snow
a Mark fifty
gentle cliché "
His two politically longest-lived works also date from this period: one is the Vietnam cycle (1966), which addressed the Vietnam War early on in German history ; on the other hand, the Schröckliche Moritat vom Kryptokommunisten (1965), which satirically impaled the common clichés of anti-communism in the Federal Republic. In the Vietnam cycle, which consists of a total of six songs, he described the war from the perspective of various groups involved: from the perspective of the Vietnamese (fighting partisans) , a US soldier (western ballad) , a US commander (purely technical) , the industry involved (economic report ) , in order to give the war a historical dimension in the burning of witches (formerly the burning of witches , now napalm ) and in the final discussion of Messrs. Müller to give the conflict a political-imperialist theoretical interpretation.
The terrible morality describes the harmless daily routine of a communist in vocabulary and with the clichés of anti-communism. The communist brushes his teeth with brandy and drinks vodka for breakfast. He puts on "the under-walking boots" and goes to his "illegal underground work". Already "at ten ten o'clock he will eat the first child (blue-eyed, blonde)". He pretends to be, speaks Rhenish instead of Saxon, and goes to the hairdresser's to always look inconspicuously “ agitproper ”. He “communists” in the hut behind the embankment, kisses the woman there, plays hide-and-seek with the children, and finally takes off his under-walking boots after completing the day's work.
Capitalism - an iron angel shitting bombs and napalm: singers of the new left
In 1964, Süverkrüp appeared as one of 13 singers at the first Chanson Folklore International Festival at Waldeck Castle , which in the following years developed into the Mecca of the folk and songwriting scene. Franz Josef Degenhardt , Reinhard Mey and Hannes Wader also performed here until 1969 . Perry Friedman , Hermann Hähnel and Lin Jaldati joined them from the GDR , while Hedy West and Pete Seeger were invited internationally . Even the later pop singer Ivan Rebroff performed here with folklore. However, the festival quickly developed into a meeting place with the typical momentum of such an event. The scene there began to revolve around itself, content to be there and, in his opinion, without any further claim. It thus became more and more similar to the West German society that it wanted to criticize. As early as 1966 the permanent guest Süverkrüp wrote mockingly in the wishes of the audience :
“Say everything but say it already fermented.
However, practice criticism in the subjunctive.
And be modern and make us lost to the world,
And decorate us with other people's stink.
And tell us where the real philistines are
so that we can all agree.
While they are sweating in the sausage factories,
a different wind is blowing on our mountain. "
The festival at Waldeck Castle was characterized by internal disputes early on. The debate ran along the front lines between “art” and “politics”, which made it almost impossible to find a path between the two. In the end, the festival failed because of this dispute.
Together with Hanns Dieter Hüsch , Franz Josef Degenhardt and Wolfgang Neuss he formed the quartet in 1967 . Süverkrüp performed at Easter marches, company occupations and festivals, at the first festival for workers' songs, organized by pläne-Verlag, as well as at the Essener Songtagen 1968 ( 25-29 September 1968), “Europe's first major festival for folklore, folk song, chanson and good popular music ”, where he played the opening concert with Hanns-Dieter Hüsch and Franz-Josef Degenhardt. The originally planned appearance as "Quartet '67" fell through because Neuss canceled at short notice - he wanted to be the only one at this non-profit concert to have a fee. Süverkrüp wrote many songs especially for such occasions that have such an unusually close reference to time. During this time he produced several television programs for WDR such as Süverkrüps Laube or Die Wegwerfgesellschaft .
During this time he wrote his texts in a more politically direct manner. From a description of everyday life and left-wing political criticism in many facets, he concentrated more and more on what he believed to be the most important cause: monopoly capitalism . Lyrically he is often more direct than his companions at the time, the Deutschlandfunk describes him: “Among the veterans of the German songwriting scene - like Hannes Wader, Franz Josef Degenhardt or Reinhard Mey - he was always the one who criticized the political system of Western Europe most relentlessly and for them social market economy only allowed the name capitalism to apply. "
Already in the 1968 song, 1968 Psalm, he sums up his image of capitalism, which was to be formative for his other publications:
“But on the eighteenth day God created,
be it in anger, be it out of negligence,
capitalism
And from it became an iron angel,
stretched
mightily over continents, suffering from lust and nonsense,
shitting napalm and bombs
as it turns
and eats them from the peoples Seed and harvest
and tear their flesh
so they refuse "
For him, capitalism always remained the system to be combated in his publications. Politically, he positioned himself where capitalism was being fought and turned against anything that could harm this fight. For him, in the long run, only the real existing socialism of Soviet character was a promising opponent of capitalism, so that he also turned against left-wing critics of it. His biting, often aggressive humor occasionally hits his own scene. As early as 1970 he draws a summary of the New Left in The Revolution is Over:
“So the first revolution had eggs but no penis.
That was the intellectual revolution, so to speak. Is finished.
The second revolution, it was exactly the opposite.
That is why it was called the Sexual Revolution. Is finished.
The third revolution was during the semester break.
But it is probably over.
The fourth revolution was the musical revolution.
It's still over.
The fifth revolution - we tried to start at the bottom.
With the kids. Is finished.
We no longer had to do the sixth revolution ourselves.
Has the star got us. Is finished.
At the moment I don't remember the seventh revolution.
But it doesn't matter. Is finished.
The eighth revolution turned against consumer terror.
But unfortunately has not found a mass base. Is finished."
Parody of the Christmas carol The snow falls softly
In 1969, Süverkrüp wrote a parody of the Christmas carol Quietly the snow trickles :
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Reprinted with the kind permission of December 7, 2013 by Dieter Süverkrüp.
After the invasion of the then Czechoslovak Socialist Republic (ČSSR) by the Warsaw Pact states in 1968, the “cold” almost became a “hot war”. In memory of the Second World War , he points to the connection between warmongering and arms deals and fears that a new war could arise. The direction of his song becomes clear in the last stanza, which takes up the parodied linguistic motif of the first stanza.
Socialism, comrades: Süverkrüp as a cold warrior
Süverkrüps' political image was shaped by the conflict during the Cold War . He himself felt the western capitalist system to be inhuman and the real socialist model as the only alternative that could actually be implemented. He found other left-wing approaches to be illusory or, in the real political conflict between the systems, as an escape from the world. For him, criticism of the GDR, regardless of the perspective, resulted in cooperation with the capitalist system and thus to be rejected.
For him, at the latest with the Godesberg program, the SPD had given up its leftist claim and had thus become an unwilling vicarious agent of “big business”; for him she was "SPDemütig". In It's all very different, he wrote in 1980:
"In the past, the CDU was the party of big business,
but today it is the party of big business. That
is the subtle difference to the SPD.
It wasn't like
that before. So you can rest assured"
While parts of the left hopefully accompanied the entry into government of the social-liberal coalition under Willy Brandt , he targeted this hope for real social change in Change of Power (1970):
"Shabby political chants
are simply no longer in there
since the SPD ruled
the country where I was born, I
'll put Karl Marx aside!
Buy me Wehner's anthology!
Hang the picture of the kind corporate boss on the wall of the room!
And gradually the cold hatred dies behind
my forehead And from putrefaction tender flowers grow through my brain. "
In the 1970s, when the left movement began to diversify, he publicly remained a DKP man and the system of the GDR and the Soviet Union. While he had previously been able to persuade Hanns Dieter Hüsch, for example, to cross out a protest song against the suppression of the Prague Spring in 1968, he expressed his convictions more openly during this time and attacked the non-communist left more strongly in his songs.
After he had always clearly rejected the SPD, he turned against the New Left in the course of time . In The Art of Winning Dissenters to Socialism, he targeted the New Left, which was strongly influenced by students, in a particularly biting way . Starting with agitating with slogans far away from the reality of normal people, through their interest in topics that are as distant as possible, which would rather deal with freedom struggles in Angola than with the reality on their own doorstep, to their emptied concept of socialism, which according to Süverkrüp's standards is nothing had more to do with socialism, but served as an empty formula for blind actionism. For him, it had to be possible to implement socialism in concrete terms; the Soviet system was the only one that actually existed and therefore, from his point of view, absolutely had to be defended against accusations.
He accused the left-wing critics of ultimately only working with the "class enemy"; To attack and weaken the socialist model of the GDR without having an alternative, and thus ultimately to play the game of "Stern, Spiegel and FAZ".
In a 1973 dispute with Marcel Reich-Ranicki, he said about the performance ban on the singer-songwriter Wolf Biermann, who was then active in the GDR :
Reich-Ranicki: "I understood you correctly, Mr. Süverkrüp, so you understand why the beer man is forbidden to perform and sing in the GDR?"
Süverkrüp: "As long as he writes songs as he is currently writing and singing - of course."
Süverkrüp's position also became more isolated within the left. He saw himself in a defensive stance and forced to defend a system with which he himself had problems. An example is shown in Protest without makeup (1971). The song, constructed from the form of expression, similar to the crypto-communist , works with identical stylistic means, but is located in the GDR. But this time from the upside down position. While the crypto- communist is the good communist in (West) Germany, on the other hand, in the face-to-face protest, everyday life in the GDR is held up against the West German against apparently Western prejudice.
Süverkrüp was received in both West Germany and the GDR. In 1968 the East Berlin Eulenspiegel-Verlag published the book Protestsongs , in which texts by Bob Dylan , Franz Josef Degenhardt and Süverkrüp were printed. In 1970 an LP with songs by Süverkrüps was released in the GDR.
Süverkrüp, who himself was a member of the DKP for 17 years, appeared several times at the Festival of Political Song in the GDR from 1971 .
He was one of the few artists to win important prizes both in the GDR and, after the fall of the Berlin Wall, in the Federal Republic.
As you can see, the boss is too stupid: artistic diversification
While his explicitly political songs became more and more direct in the lyrics, he also began to produce a wide range of other songs. His Christmas carols mockingly deal with the Christmas customs of the Federal Republic on the basis of the generally known melodies. You take up the topic in a mixture of biting social criticism and left-wing utopianism:
“Wild night, striking night!
One day, not very gently,
we do n't give a damn about the grace of the Lord,
let's take over the company
and the leadership in the state.
It will be a Christmas party! "
Children's songs such as Baggerführer Willibald (1970) or the musical Das Auto Blubberbumm (1976) are political, but more open in terms of their message than his other political publications of the time. Excavator operator Willibald became the standard song in the parental homes of corresponding social classes. The car blubberbumm was recorded with a top-class cast from the jazz scene.
The song, written in simple children's book language, in which Willibald realizes while working on a large, beautiful house that nothing belongs to him, but everything to the boss, was part of the constant repertoire of alternative children's shops and daycare centers and thus had a formative influence on the children many 68s out. In the song Willibald concludes:
“Willibald gets angry.
He says, 'This is not good.'
He climbs up a ladder:
'Listen, you builders!
As you can see, the boss is
too stupid. '"
Whereupon the workers introduce socialism on a small scale and build their own houses.
He worked closely with the artist Fasia Jansen , the 3 Tornados and the cabaret Floh de Cologne . He texted and wrote music and texts for other groups such as Zupfgeigenhansel . He continued to work with various media, in 1988 the radio play cassette and television picture story Pauline plays guitar was created.
Although an important part of the left cultural scene, he never completely turns away from other forms of music. In 1976 his melodrama Alwin and Alwine - a musical fate was performed at the Cologne Courses for New Music under the direction of Mauricio Kagel .
After 1989
From 1989 onwards, he seldom appeared as a songwriter. However, he continued to produce CDs, albeit again based on the texts of others. In 1995 he sang several of Erich Mühsam's songs, in 1996 he and his son Ben published the CD Singt Graßhoffs Bellman based on texts by Carl Michael Bellman , translated by Fritz Graßhoff . Only since a book with many songs and a 4-CD retrospective was published in 2002 did he occasionally return to the stage. In his own words out of curiosity, “whether he still has the old things on and whether you can still hear the timer ticking”. He describes the songs themselves in the book that accompanies the CD as “bulky waste that you might still be able to do with”. Today, however, he primarily devotes himself to the fine arts.
As early as 1979 he traveled through the Ruhr area with Hans-Georg Lenzen ; the drawings that were created in the process were shown at exhibitions throughout the Ruhr area.
He has been drawing and writing for the show with the mouse since 1987 . In 1992/1993 he held the endowed chair for poetics at the Folkwang University in Essen. In 1993 he wrote a radio play: Das Ding in Ü. at the Ö .
Since the 1990s, Süverkrüp has dedicated himself again to the fine arts, he creates drawings, etchings, copperplate engravings, and oil paintings. In 1995, he wrote the libretto for Matthias Schlothfeld / Ben Süverkrüp / Wolfgang Hufschmidt's children's opera Vom Teufel mit der Dreischen Haar (The Devil with Three Golden Hairs) , and around the turn of the millennium he wrote the stage music for a new production of Georg Büchner's Danton's death . In 2002 a CD collection of his songs and an accompanying book with texts were published, for which he wrote extensive explanations and provided his own drawings. He himself sees in the accompanying texts that many of the songs are tied to time and carefully distances himself from real socialism; But even today capitalism is still the enemy for Süverkrup and, in his view, is stronger and more dangerous than ever.
Since 2005 there have been exhibitions of his drawings, etchings, copper engravings and oil paintings in Berlin, Bremen, Düsseldorf and Lübeck. In addition to the first exhibitions, a DVD " Crossword Pictures" was published , in which he humorously incorporated his pictures and drawings into a story he wrote and told. In addition, he organizes a few concerts and readings to this day.
Personal
He is the father of the pianist Ben Süverkrüp , who together with Tina Teubner received a German Cabaret Prize 2010 .
Filmography
- 1967: In the bush of Mexico - The mystery B. Traven (TV-BRD, five parts, R .: Jürgen Goslar )
- 1977: Danton's Death (studio recording)
Awards
- 1976: Heinrich Heine Prize from the GDR Ministry of Culture
- 1986: German Cabaret Prize
- 1995: German Record Critics' Prize
Publications as an author
- Dieter Süverkrüp and group of authors: Das Ding in Ü. at the Ö. A text. In: Folkwang texts. 2 contributions to music, theater, dance . tape 7 . Die Blaue Eule, Essen 1993, ISBN 3-89206-560-8 (A series of publications by the Folkwang University).
- Dieter Süverkrüp: Süverkrüps song years 1963–1985ff . Ed .: Udohaben. Grupello, Düsseldorf 2002, ISBN 3-933749-88-3 (Contains many of his lyrics, 40 etchings and a continuous commentary on the songs).
- Dieter Süverkrüp: Süverkrüps song years. 1963–1985ff . 4 audio books. CD box. Grupello / Conträr Musik, Düsseldorf-Lübeck 2002, ISBN 3-933749-89-1 (booklet for the CD box of the same name).
Discography
Solo or publications under his name as (co-) interpreter
- 1962 Ça Ira - Songs of the French Revolution 1 (texts by Gerd Semmer ) (EP with 10 [sic!] Pieces, plans 1101)
- 1962 Warning - rat poison laid out! Keep children & pets away (texts by Gerd Semmer) (EP with 6 pieces, plans 2101)
- 1963 Ça Ira - Songs of the French Revolution 2 (texts by Gerd Semmer) (EP with 8 pieces, plans 1102)
- 1963 One song, three, four - modern chansons from the land of milk and honey (texts by Gerd Semmer) (EP with 7 pieces, plans 2102)
- 1965 Happy eating Wiener Schnitzel (LP, plans 22301)
- 1967 The rebellious songs of Dieter Süverkrüp (LP, plans 22302)
- 1969 Ça Ira - Songs of the French Revolution (texts by Gerd Semmer) (LP, FRG: Plans 11101 / [1973:] GDR: Eterna 815033)
- 196? Ça ira - Chansons from the French Revolution - 1st episode (texts by Gerd Semmer) (EP with 6 pieces, Eterna 510042)
- 196? Ça ira - Chansons from the French Revolution - 2nd episode (texts by Gerd Semmer) (EP, Eterna)
- 1970 Süverkrüps hit parade (LP, plans 22 303)
- 1970 Silent night everyone! - Dieter Süverkrüp sings nasty Christmas carols (EP with 4 pieces, plans PENG 5)
- 1970 The excavator operator Willibald - Dieter Süverkrüp sings children's songs (EP with 4 pieces, plans PENG 6)
- 1971 Red flags can be seen better (Phrix-Lied // Kleinstadtlehrlinge) (single, plans PENG 12)
- 1972 Collected Works (LP Compilation, Plans 0200)
- 1973 Bavarian Heimatlied (single B-side, ear 57.012 [A-side Floh de Cologne: Der Löwenthaler])
- 1973 1848 - Songs of the German Revolution (LP, FRG: Plans 11102 / [1974:] GDR: Amiga 855410 / [1998:] CD, Conträr 8338-2)
- 1973 Dieter Süverkrüp (LP Compilation, Amiga 8 55 329)
- 1974 Süverkrüp Live - songs and texts (also published with a different cover and title: Why becomes such a communist? - Süverkrüp Live!) LP (BRD: Plans 22304 / GDR: Amiga)
- 1980 So far everything is clear! (LP, plans 88 205)
- 1983 Song of a Hoarse Child (LP Compilation, Plans 88333)
- 1986 Erich Mühsam - I invite you to a Requiem (with Walter Andreas Schwarz and Vridolin Enxing) (LP, Plans 88502 / [1995:] CD, Conträr 4302-2)
- 1987 Pauline plays guitar (with Vridolin Enxing) (cassette, plans 8568)
- 1996 Süverkrüp sings Graßhoffs Bellmann (with Ben Süverkrüp) (CD, Conträr 5)
- 2002 Süverkrüps song years - 1963–1985 ff. (4 CDs box, Conträr 30)
- 2015 Ça Ira - Songs of the French Revolution (Texts by Gerd Semmer ) (CD, Conträr 72)
With others
- 1957 The Feetwarmers (Jürgen Buchholtz, Klaus Doldinger with, among others, Dieter Süverkrüp): Greetings to Zarah (EP with 4 pieces, Brunswick 10 806 EPB)
- 1963 Perry Friedman & Dieter Süverkrüp: Solidarity Forever - American Workers' Songs (EP with 8 pieces, plans 4101)
- 1963 Perry Friedman & Dieter Süverkrüp: I'm On My Way - American Negerlieder (EP with 7 pieces, plans 4102)
- 1963 Easter songs 1962/63 - songs for the Easter march (vocals: Fasia Jansen , Inge Börner, Ingrid Süverkrüp, Günter Göpfert (banjo), Dieter Süverkrüp (guitar). The Bricklayer-Skiffle-Group, the Skiffle-Plackers) (EP with 8 pieces , Plans 3101)
- 1964 We want to say something about it - New songs against the bomb (They sing: Fasia Jansen, Ingrid and Dieter Süverkrüp, Hannes Stütz and Gruppe. Heinz Schlegel (trumpet), Heinz Dommes (clarinet, drums), Dieter Süverkrüp (guitar) play ) and the Skiffle-Pluckers) (EP with 7 tracks, plans 3102)
- 1968 Floh de Cologne & Dieter Süverkrüp: Vietnam - For five speaking and singing voices, strings, wind instruments, organ, bass, percussion, piano and guitars (LP, plans 33101)
- 1970 Die Internationale // Brüder, zur Sonne, zur Freiheit (with: Dieter Süverkrüp, Franz-Josef Degenhardt , Fasia Jansen, Hanns Ernst Jäger, The Conrads, Hanns Dieter Hüsch , Dietrich Kittner , Lerryn, Hannes Stütz , Munich song group, song- Gruppe Hamburg) (single, plans PENG 7)
- 1971 Interpol Cologne, Die Conrads & Dieter Süverkrüp: We make the Red Dot (EP with 3 pieces, plans PENG 13)
- 1976 Das Auto Blubberbumm - A musical for children (from 8) (music and text: Dieter Süverkrüp, Wolfgang Dauner , text: Dieter Süverkrüp, with: Volker Kriegel , Albert Mangelsdorff , Ack van Rooyen, Eberhard Weber , Inge Brandenburg , Jörg Gebhardt ua) (LP, plans K20903)
- 1977 Rotkäppchen - after Jewgenij Schwarz (Floh de Cologne, Christiane & Fredrik, Franz Josef Degenhardt, Fasia, Perry Friedman, Hanns Dieter Hüsch, Dieter Süverkrüp, Hannes Wader ) (LP, plans K20905)
- 1978 Die Menschen von der Annostrasse - For people over 10 (text: Peter Maiwald , music: Mike Herting , with: Rick Abao , Fasia Jansen, Uschi Flacke , Petra Grabowski, Hanns Dieter Hüsch, Dieter Scholz, Dieter Süverkrüp, Mike Herting, Jan Reimer and others) (LP, plans DK0099)
- 1996 Quartet '67 (Hanns Dieter Hüsch, Wolfgang Neuss , Franz Josef Degenhardt, Dieter Süverkrüp) (2 CDs, live recording 1968 by Saarländischer Rundfunk, Conträr 4304-2)
- 2004 Fritz Grasshoff: Listen here, your contemporaries ( Fritz Graßhoff with: Pit Klein, Lothar "Black" Lechleiter and Dieter Süverkrüp) (CD, Conträr 2912-2)
Represented on the following samplers (partly live recordings)
- 1970 Listen to red! - Workers' Songs Festival (LP, plans 66 201)
- 1971 Everyone can see red ... listen to red! (LP, plans 0300)
- 1971 apprentices stick together (LP, plans 33501)
- 1973 3rd Festival of Political Song 1972 (LP, Eterna 8 15 058)
- 1973 For anti-imperialist solidarity, peace and friendship! - X. World Festival 1973 (LP, Eterna)
- 1974 International Concert: Solidarity With Chile (LP, plans 19 574)
- 1974 Concert for Chile - Live recording of the solidarity concert "For Victor Jara", May 31, 1974, Essen, Grugahalle (2 LPs, plans 88 113)
- 1976 Folklore International (2 LPs, plans 0500-01)
- 1977 Rote Lieder 70-76 (LP, Amiga 8 45 134)
- 1977 GegenBILDlieder (LP, Eigelstein ES 2010)
- 1978 The festival of our time - Live from the UZ-Volksfest (LP, plans G-6-0168)
- 1980 Decathlon - Festival of Political Song 1970–1980 (2 LPs, Amiga 8 45 190-91)
- 1981 Artists for Peace - 2nd Forum of the Krefeld Initiative, Dortmund, November 21, '81 - Live recording of the final event , Westfalenhalle Dortmund (2 LPs, self-published, A 6042/3)
- 1982 We want to live - songs against downfall (2 LPs, Folk Freak / Plans FF 3005/6)
- 2002 Folk and songwriter on the Rhine and Ruhr (2 CDs, supplement to the book of the same name, No Ethno / agenda 2001/2)
- 2008 Die Burg Waldeck Festivals 1964–1969 - Chansons Folklore International (10 CDs, Bear Family BCD 16017 JC)
literature
- Thomas Rothschild: Dieter Süverkrüp . In: Thomas Rothschild (Ed.): Liedermacher. 23 portraits . Fischer, Frankfurt am Main 1980, ISBN 3-596-22959-6 , pp. 170-177 .
- Wolfgang Bittner , Mark vom Hofe: The creator of the excavator operator Willibald. Dieter Süverkrüp. In: I meddle. Striking German résumés. Horlemann, Bad Honnef 2006, ISBN 3-89502-222-5 .
Web links
- Literature by and about Dieter Süverkrüp in the catalog of the German National Library
- Official website
- Music, text and download by excavator operator Willibald
- Harald Pfeifer: The friendly gentleman and his unruly chants. ( Memento from October 1, 2007 in the Internet Archive ) Mitteldeutscher Rundfunk
- Dieter Süverkrüp at Discogs (English)
Individual evidence
- ↑ Review on grupello.de
- ↑ Dieter Süverkrüp: Süverkrüps song years 1963–1985 ff. Grupello, Düsseldorf 2002, ISBN 3-933749-88-3 , p. 148 ff.
- ↑ First in: Uwe Wandrey (Ed.): Silent night all around! A nasty variety. Rowohlt Taschenbuch Verlag, Reinbek bei Hamburg 1972, ISBN 3-499-11561-1 , p. 113f.
- ↑ Kleinkunstpreis on 3sat.de; Retrieved March 8, 2010
| personal data | |
|---|---|
| SURNAME | Süverkrüp, Dieter |
| BRIEF DESCRIPTION | German songwriter |
| DATE OF BIRTH | May 30, 1934 |
| PLACE OF BIRTH | Dusseldorf |