Inge Latz

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Inge Latz , née Inge Schintz , (born June 14, 1929 in Aachen , † April 4, 1994 in Munich ) was a German composer , songwriter , cabaret artist and music healer .

Life

Youth and education

Latz grew up in Aachen and the surrounding area. Before the Second World War , the father ran a weaving mill that had to close during the inflationary period, later traded in textiles and opened a tailoring shop . Her mother had completed a musical education at the Cologne University of Music. The post-war period in Aachen described Latz a formative influence on her musical socialization. She learned to play the piano from a blind organist on an instrument that she had found in the ruins. She had to interrupt her practice sessions when customers entered her father's shop. She had a sister named Angela.

In Cologne Inge Latz took musical studies in the field of music education on, which she completed with the state examination. During her studies from 1951 to 1954 she was friends with her fellow student Ilse Storb , who later became known as the 'jazz professor'.

Inge Latz worked as an ice cream seller and waitress to finance her studies. According to her own statement, she "literally starved herself" from a Steinway grand ; after they got married, the couple's one-room apartment had no space for the instrument and it was temporarily housed with their parents. She also completed training at the vocational school for singing, drama and opera in Düsseldorf , where she worked as a music teacher from 1958 to 1962 . She later settled in Meckenheim near Bonn in the Rhineland , where she lived with her many, often non-European musical instruments in the Merl district at 114 Merler Ring at the beginning of the 1980s . From 1974 she taught in music schools.

Song group and cabaret

In 1973 a song group was founded in the Bonn Women's Forum under the name of Bonner Blaustrüumpf , for which Inge Latz set texts by Caroline Muhr and Gisela Meussling to music and accompanied them on the piano. “Inge left no doubt that we also had to master the singing,” recalls Caroline Muhr, “under her direction. So it happened that women who hadn't uttered a song for 10 or 20 years started their rusty throats and gathered around a grand piano every Tuesday evening. "

The first joint appearance of the eight-person group (dressed in appropriately colored knitted stockings) took place on March 22, 1974 at the spring festival of the Parliamentary Society in Bonn. The group also played at the Frankfurt Book Fair and at the opening of the Young Forum in Bonn 's Beethoven Hall. On the street she accompanied demonstrations and actions of the women's movement against § 218 .

The best known were Das Lied vom Frauenhaus , which supported the initiatives at that time to found women's shelters , and Wir'n nach Holland not because of the tulips , a song against the criminalization of women who have aborted . After five years the group broke up.

From 1979 Inge Latz appeared with the political cabaret Die Federhexen , in which Margaretha Rosar, Myriam Pfeil and Trautlind Klara Schärr participated. Among other things, they showed the radical feminist program Serenade in Groll in the theater of the University of Bremen at the opening of the first Bremen Women's Ring Lecture .

Inge Latz was also involved in the Song AG , where she promoted female songwriters. As the editor of a popular paperback women's songs (1980), she saved many songs of the women's movement from being forgotten.

Witch songs and music healer

In the 1980s, Inge Latz who before performances turned meditate used, spiritual topics and explored the history of witches . She set twelve historical texts collected by Gisela Meussling to music as witch songs , which she edited with commentary. Inge Latz dealt with medicinal herbs and magic spells , but also with lullabies , counting rhymes , onomatopoeia in children's songs , the symbolism of cross and witch stitches and other customs , which she perceived as remnants of magical thought and experience, especially in women. Musical intuition and improvisation , "body awareness, world of sensations, recognition of images and metaphors" became more important to her than classical training. For her music education work she invented “natural” instruments: a rattle snake made from seed pods, a rattling belt made from fruit pods and singing clams.

In women's education house Zülpich , it launched a music therapy training group since 1,983th Annemarie Blessing, Eva Bauer and Michaele Mohr were among her students. She published handouts for therapeutic work with children and the elderly. In 1993, Inge Latz and Eva Bauer organized weekly themed evenings in Munich's Seidl Villa (including: musical mask dances , the secret of the autumn timeless , witch sounds and winter spirits ), at which improvised music was performed.

In the early 1990s she moved to Munich, where she died shortly after the death of her husband on Easter morning in 1994. She left three children and was buried in Munich's north cemetery. The sculptor Hanna Rothenbücher designed her tombstone.

Honors

  • On October 28, 1994, the Bonn Women's Museum dedicated a memorial evening to Inge Latz.
  • The women's education center in Zülpich named a room in her honor after Inge Latz.

Publications

Books, sheet music

  • (with Angelika Bartram ) The clever farmer's daughter. A musical fairytale comedy based on the Brothers Grimm retold. Sales office and publishing house of German stage writers and stage composers, Norderstedt o. J.
  • (with Gisela Meussling and Caroline Muhr) to raise hair. songs of protest and mockery for the new women's movement. Songbook for the year of the woman. Frauen-Verlag, Koblenz 1975
  • Who only lets the dear man rule ; Whoever believes will be saved ; Partnership . In: Walter Heimann, Ernst Klusen (Ed.): Critical songs of the 70s. Texts and notes with accompanying chords. Fischer Taschenbuch Verlag, Frankfurt am Main 1978 (Fischer Taschenbuch 2950), ISBN 3-596-22950-2
  • Satellite town ; Today I'm going to pick flowers . In: Ellinor Lau, Barbara Brassel (Hrsg.): Frauenliederbuch. Frauenbuchverlag, Munich 1979, ISBN 3-921040-91-4
  • Women songs. Texts and notes with accompanying chords. Fischer Taschenbuch Verlag, Frankfurt am Main 1980 (Fischer Taschenbuch 2957), ISBN 3-596-22957-X
  • The song from the women's shelter ; Anna ; Today I'm going to pick flowers . In: We were silent for far too long. Songs for, by and about women. Verlag Jugend & Politik, Frankfurt am Main 1980, ISBN 3-88203-056-9
  • (with Petra Lorenz and Gisela Meussling) "Sing, woman, sing ..." lyrics with music. Illustrations v. Petra Kaster. edition die maus, Bonn 1981, ISBN 3-922129-00-5
  • (with Gisela Meussling) The singing rubber tree. A children's comic songbook. Illustrations v. Petra Kaster. Fischer Taschenbuch Verlag, Frankfurt am Main 1981 (Fischer Taschenbuch / Fischer Boot 7510), ISBN 3-596-27516-4
  • (with Gisela Meussling) Old witch songs . Song cycle. Newly set to music for female voices or voices, female choir or choir groups, solo instrument or instruments or instrumental groups. With 22 graphics by Petra Kaster. edition die maus, Bonn 1982, ISBN 3-922-12902-X
  • The silence would kill me. Why music is feminine. Gisela Meussling Verlag, Bonn 1987, ISBN 3-922-12915-9
  • Music in the life of the elderly. Singing and making music. Game instructions, sound experiences. Dümmler, Bonn 1988, various editions up to 1998 (textbooks and workbooks for the elderly), ISBN 3-427-58581-6
  • Women's musical life as a path to healing. In: Diana Voigt, Hilde Jawad (ed.): From woman to woman. Feminist approaches in theory and practice in psychotherapy schools . Vienna 1991 (Frauenforschung Vol. 17 series), pp. 87 ff., ISBN 3-900399-56-5
  • The dream meadow. Another way into piano improvisation. Changeable piano pieces that make you forget musical and other nightmares. Issue 1, Live-Musik Verlag, Munich 1993

Sound carrier

  • (with Ulrike Dumrese, Christel Fischer, Gisela Meussling and Caroline Muhr) The Bonn Blue Stockings sing songs of protest and mockery. (LP) Bonn 1977
  • On the way to the sounds of witches. Piano improvisations. The Flight of the Cranes (MC 1); The dream dancer (MC 2); Love spell for Maria (MC 3). Music cassettes, Live-Musik Verlag, Munich 1991
  • (with Eva-Maria Bauer and Monika Fibinger): Magical cave songs on the Lichtenstein. Free voice improvisations. Music cassette (MC 4), Live-Musik Verlag, Munich 1992
  • (with Eva-Maria Bauer and Barbara Latz): Solar winds. Music cassette (MC 5), Live-Musik Verlag, Munich 1992
  • Between the seas. Piano improvisations. Live in concert. Music cassette / CD (MC / CD 8), Live-Musik Verlag, Munich 1993

literature

  • Caroline Muhr: The Bonn Blue Stockings. Story of a feminist song group. In: Women's Yearbook '77 . Frauenoffensive, Munich 1977, pp. 117–124.
  • Marianne Bröcker: (Review) The silence would kill me. Why music is feminine. In: Jahrbuch für Volksliedforschung , vol. 35 (1990), pp. 155–158
  • "So-called demanding art has become a stimulus for me ..." Polyphonic obituary for Inge Latz. In: Musikblatt. Journal of guitar, folklore and song. Vol. 21 (1994), No. 169, pp. 21-28.

Web links

Individual evidence

  1. ^ Caroline Muhr: The Bonn Blue Stockings. History of a Feminist Song Group , p. 118
  2. ↑ A photo of her tombstone can be found on the website of the sculptor Hanna Rothenbücher.
personal data
SURNAME Latz, Inge
ALTERNATIVE NAMES Schintz, Inge (maiden name)
BRIEF DESCRIPTION German composer, songwriter, cabaret artist and music healer
DATE OF BIRTH June 14, 1929
PLACE OF BIRTH Aachen
DATE OF DEATH April 4, 1994
Place of death Munich