Leipzig song scene
The Leipzig song scene in the German Democratic Republic consisted of songwriters and chanson interpreters , singing actors, lyricists, composers and other musicians. It is characterized by peculiarities such as an extraordinary variety of styles and forms of presentation, a lyric poet as the center of the scene and an actor as the teacher of forms. Leipzig was called the "capital of chanson" of the GDR.
History of the 1960s and 1970s: three dissidents
In response to the “resolution to develop the singing movement” of the Central Council of the FDJ in 1966, a strict pro-socialist orientation was called for. When the FDJ singing movement was established nationwide, some song movements began to write their own critical texts, including the songwriters Gerulf Pannach and Christian Kunert . A few years earlier at the district cabinet for cultural work, responsible for the “singing movement”, Pannach sang verses like: “Overtaking without overtaking, / that's GDR-specific / idiots are made into idols / because they praise what exists.” He as well as the group Renft , for which Pannach and Kurt Demmler had written, were banned from performing or were banned.
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Around the same time, the songwriter and lyricist Michael Sallmann , who emerged from the Leipzig song group, began to appear with critical texts. The Kulturdirektion Leipzig withdrew his permission to perform, the band distanced themselves from him, he was de-registered and wrote the following quatrain, which reminds of François Villon : “To mock all frustration / I write this verse / The fiery red poppy blossoms / even without it To you. That's it. ”When he continued to appear illegally, he was arrested and deported to West Berlin .
The functionaries had passed their acid test, and some of them, like Comrade Geldner, stayed in office until the fall of the Wall. The FDJ relied on singing clubs to date. They could be "wonderfully (and certainly not involuntarily) harnessed to the propaganda state cart". The increasingly popular rock music, however, did not fit into this concept, with German lyrics in the 1970s, later songwriters and folklorists, which also included some song groups as transitional projects in the 1970s, among others. a. the song group 11/1 and Leipzig song group at the Central Club of Youth and Athletes (headed by Odwin Quast), from which the group Bistro and Michael “Salli” Sallmann emerged.
A "prison project"
Around the same time (from 1971) Andreas Reimann began as a lyricist and Hubertus Schmidt as a singer and composer with the first song programs. After the poet Andreas Reimann had been sentenced to two years in prison for his poems and had met Hubertus Schmidt in the Cottbus prison, they talked “a lot about art” in prison. This led to Schmidt studying at the Leipzig Music Academy after his release . When Hubertus Schmidt had to spend half a year in the Robert Koch Clinic, Reimann brought him 50 texts that he set to music. However, that was the beginning of something new in the scene: poetically demanding texts and neatly composed piano music à la Brecht and Weill . Schmidt then worked with Werner Bernreuther on the interpretation and his stage habitus.
With their “prison project” they created a contrast in content and artistry to the repertoire and performance of the singing clubs, which became a point of orientation for many performers.
Genre boundaries
The genre boundaries between song / chanson, folk and rock song were still very manifest until the end of the 1980s - in contrast to the terms " singer-songwriter " and " world music " that are often used today . Only Clemens Wachenschwanz referred to himself for a while as a "song-maker", which was more of a publicity stunt. Some other actors emphasized the term “(song) theater”.
repression
Heinz-Martin Benecke was in custody as a member of the cabaret "Rat der Mockers". It was not uncommon to distance oneself from people who had political problems. In Leipzig, mutual help predominated, even in difficult situations: material support, artistic advice on a private level, private recordings without profit and remuneration for private studio owners such as Hubertus Schmidt and Peter Gläser . In the 1980s, the Chanson Working Group officially stood up for colleagues if their permission to play was revoked. Akram Mutlak and Dieter Kalka were invited by the district commission for entertainment arts to perform the controversial repertoire. Kalka was then earmarked for a funding contract that the head of the KGD , Comrade Schalupsky, did not want to sign at first, but which then went over his desk. When the Munzenberger Gevattern combo was banned for the second time at the end of the 1980s and there was no prospect of a new license to play, Hubertus Schmidt planned to work with Jens-Paul Wollenberg on a program with the aim of giving Wollenberg a " professional ID." “Received. It was not for nothing that there were solidarity concerts in Leipzig in mid-October 1989 for the imprisoned demonstrators - first and foremost the singers of the Leipzig song scene. This gave rise to the term “Leipzig Solidarity”.
Performance locations
In the 1980s there were several cultural centers that regularly held chanson and song events, above all the House of Folk Art (Uwe Kunath) and others. a. with the series “Überbrettl” by Hubertus Schmidt; Susanne Grütz and Dietmar Voigt, the Chanson-Café in Café Günther, the Kulturhaus Mühlstraße ( Gerd Harry Lybke , later “Irmchen”), under Michael Gatnijewski ran 79 episodes of the series “Steffens Guests ” in the Kulturhaus “Erich Zeigner” (popular parlance: Eiskeller ) "With Steffen Mohr as host, Leipzig-Information, the Central Club of Youth and Athletes (Haus Leipzig), the Clubhouse Nationale Front (" naTo "), the youth clubhouse " Jörgen Schmidtchen "under Petra Lux , the Klubhaus Völkerfreundschaft Grünau and almost all student clubs, especially the Moritzbastei , the C4 under Gerd Arnold and the club of the DHfK under Clemens Wachenschwanz and not inconsiderably the student stage of the Karl Marx University . There were also some churches, especially the Lukaskirche by Pastor Christoph Wonneberger and some illegal venues such as the Wurzener Ringelnatzklause .
State institutions
In order to be allowed to perform in the GDR, one needed a classification (“folk artist” / “amateur”) or an admission as an entertainer (“professional”). The legal basis is described in detail on the page “ Permission to perform for artists in the GDR ”.
The city cabinet for cultural work promoted songwriters in the talent studio a . a. with singing and guitar lessons (Joachim Schäfer) and composition theory (Ralph Stolle). Peter Eichler described it like this: "In the end, it was all about not letting unpopular, realistic or even rebellious songs come onto the stage in the first place or pulling them off the stage again."
The then head of the district cabinet for cultural work, Peter Vonstein, acted even more acutely. In 1984 Dieter Kalka's text Der Schandesel "submitted" to the district cabinet was passed on to the MfS. As a result, performances and a whole tour were canceled for him and his band “Dieters Frohe Zukunft” and an attempt was made to ban the songwriter from his profession.
Workshops and advisory groups
A district workshop for chanson interpreters and songwriters took place in Leipzig every year . Hubertus Schmidt: "Everyone was aware of the importance of the workshops and other centrally controlled events as an opportunity to observe the participants, but they were perceived as a positive enrichment for their own activities!"
Many interpreters used these events as further training and feedback from competent advisors such as Werner Bernreuther (actor, author and songwriter), Jens-Uwe Günther (composer and singer), Andreas Reimann (lyricist) and Thomas Heyn (composer). The best contributions were selected for a final concert. Prizes were also awarded.
Many Leipzig songwriters also took part in the Chansontage, which Bernreuther provided artistic supervision, at the Chansontage Kloster Michaelstein . Furthermore, the poet Andreas Reimann, who wrote in cafés, was a conversation partner for many. Benecke called it "the tower, the center" of the scene.
folklore
The folklore workshops organized by the folk countries took place regularly in Leipzig . From traditional forms and material, some bands developed new things, first Dieter's Frohe Zukunft under the trademark “New German Folklore”, satirical-critical songs in folklore guise. After the folk countries developed into a dance band, Jürgen B. Wolff founded the Duo Parasol under the trademark "Brachialromantik".
Performers
The Leipzig song scene includes (t) Werner Bernreuther , Hubertus Schmidt in various line-ups with Susanne Grütz, Dietmar Voigt and others. a., Joachim Schäfer , Andreas Reimann , Heinz-Martin Benecke , Jürgen B. Wolff , Clemens Wachenschwanz, Tobias Klug, Katrin Troendle, Theaterlabor Voigt (Dietmar Voigt and Massa Großwig), Ilona Schlott, Silvia Pscheit, Christine Tiepelmann, die Kieselsteine ( with Maike Nowak , Ines Krautwurst - later also as a soloist with Stephan König - supervised by Heinz-Martin Benecke and Werner Bernreuther), Dieter Kalka and Dieter's Frohe Zukunft, the Bistro group (emerged from the 15-strong Leipzig song group: Manne Brückner, Anton Hudl , Winni Röhrich, Heike Pötzsch, Christian Bach and Jürgen Panaiotidis), Christa Mihm, Andrea Thelemann, Michael Pein, the UNICUM group (Iris and Wolfgang Rothe, etc.), Jörg Schneider, Roland Morgenstern, Akram Mutlak, Menzel Menzel Mau, Radjo Monk with Erwin Stache, in the mid-1980s also Trötsch Tröger , Stephan Westkämper with his band, the boulders, “Schütz with us” (Uwe Schneider, Sebastian Richter and Peter Schütz), the Wurzen town musicians Ge Em Be Ha, group f sharp (Mario Jakob b / cl, Thomas Stolp p, Michael Kops git / voc, Matthias Stolp fl), the Lose Skiffle community Leipzig-Mitte, Frank and Frey (Delia Franke and Ingeborg Freytag), group Animus, Heike Hanus , Bettina Kniehauer, Method Laurentius Rentsch, the "Ulknudel" Zara Jähnel, Jens-Paul Wollenberg, who moved in at the end of the 1980s, and as director of the poetic theater and also actor Michael Hametner as well as a large number of musicians.
Songwriters from the Christian environment include (s) the writer Steffen Mohr, the Kaktus group, Ralph Elsässer, who takes up ecological issues, and the civil rights activist Martin Jankowski .
Styles and forms of presentation
What is striking is the variety of styles and forms of presentation, which is unique in the GDR, similar to the Leipzig School in the fine arts. Depending on whether the interpreters were text-, music- or acting-oriented, different modes of presentation developed.
In addition to "lone fighters" on the guitar like Akram Mutlak with anarchic-poetic chants and Maike Nowak, there were performers who were accompanied by a band, such as Stephan Westkämper (with Siegmund Kiesant / guitar, Hartmut Köllner / saxophone and bassoon and Andreas Schrödter / Bass); as well as the group "Bistro". Maike Nowak later founded the group “Kieselsteine”, Dieter Kalka “Dieters Frohe Zukunft”.
Classics and contemporary lyricists were served in a veritable range, starting with Bertolt Brecht , Fritz Grasshoff , Peter Hacks , Adolf Endler , Paul de Kock (Schmidt / Grütz / Voigt et al.), Furthermore Hermann Hesse , Ingeborg Bachmann , Gottfried Benn , Wolfgang Borchert , Hermann Schäfer, Eva Strittmatter (Schäfer), Arthur Rimbaud , Kurt Arnold Findeisen , Emanuel von Bodman , Carl Michael Bellman (Kalka) and François Villon (Wollenberg), as well as nonsense literature by Edward Lear , Jacobus Schnellpfeffer , Hanns Theodor Wilhelm Freiherr von Gumppenberg (Liedtheater " schmidt or so ”). The FIS group staged a chamber music program based on texts by James Joyce . Pieces by Konstantin Wecker , André Heller , Herman van Veen and James Taylor were in the repertoire. a. by the group Bistro, which offered rock chansons, but also texts by Kurt Drawert .
Musicians and bands from the folk scene switched to Lied, such as Dieter's Frohe Zukunft and the Wurzen town musicians Ge Em Be Ha . Jürgen B. Wolff founded the Duo Parasol. The "Foundlinge" worked on a program with Bela Danc as director.
On the student stage of the Poetic Theater, programs by Erich Kästner “Even grace can shake”, Klabund “Klabund! The days are dawning! ”And Vladimir Mayakovsky :“ The choirs of the heart smoke like a fuse ”.
Ilona Schlott (with Thomas Heyn as composer) and Christa Mihm sang Yiddish , the Chilean José Pérez interpreted Reimann texts, for which he received a prize at the National Chansontage , as well as adaptations of Latin American folklore: songs from three continents. The Sorbe Method Laurentius Rentsch sang Bulat Okudschawa in German.
Some lyricists presented their texts with musical accompaniment, such as Radjo Monk with Erwin Stache and Lutz Nitzsche-Kornel with the band SVK (including Hatz and Tino Standhaft). Trötsch Tröger appeared with a punk habitus. Maike Nowak addressed same-sex love with her band Kieselsteine , later also as a soloist. With Ines Krautwurst they were to be delegated to the National Chanson Days in the mid-1980s as "bearers of hope". The delegation was withdrawn and the duo was also banned from performing.
Silvia Pscheit sang songs by Claire Waldoff and Lene Voigt as well as "Wiener G'schichten". The Lose Skiffle Gemeinschaft Leipzig-Mitte offered “old hits with a monster cast” and Tobias Klug, a “virtuoso in suit on the double bass, performed literary nonsense texts by Christian Morgenstern ” (director Friedel von Wangenheim ).
Content
The variety of topics was broad, from love songs to the meeting of American and Soviet soldiers at the Torgauer Brücke (Benecke) and songs about everyday life - but completely contrary to the “ideologically overloaded (s)” “Kaiser birthday singers” from the FDJ singing clubs. Historically relevant according to the Brecht maxim “In the dark times / Will there be singing? /… From the darker times “, some songwriters dealt with undesirable and taboo subjects. In the “Buchenwaldlied”, Salli Sallmann describes a brigade drinking tour to the Buchenwald concentration camp and thus exposes the hypocrisy of such visits: “Instead of wearing a black ribbon / he walks through the camp gate / with the sausage in his hand.” Reimann's class reunion is about big dreams and banal realities : "What has become of you / various cronies / one is in the north, the other in the party ..." (Reimann / Schmidt) as well as the aging of the government apparatus in view of the old men : "They lift their tails with a hand pulley" (Reimann / Schmidt) and about an old friend, the “The Ulpa woman from Reykjavík ” (Reimann / Schmidt), a song for the ex-Leipzig woman and exile Helga M. Novak . Reimann's landscape foundation as well as Bernreuther's “If I come from Prague to Leipzig an der Pleiße, then I will know what stinks about Leipzig” as well as some songs by Ralph Elsässer on environmental topics. The crack in the country is thematized by Kalka: "Then the earth has a crack / then the country is a prison", also in the fatherland song: "My fatherland is / where the rust spikes bloom ...", also by Bernreuther: The wall " gave the country peace and quiet / and doesn't calm me down ”, as well as“ O head full of blood and wounds / always want to go through the wall. / You have tormented in vain / the building will endure. ” Kalka wrote about the '89 election :“ Vote Do or don't choose, / it doesn't matter, / otherwise someone else will vote for you ”. A parody of the organized parades such as May 1st and the anniversary of the republic provided the duo parasol with the "grandstand lifter". Bernreuther put it this way: “And choirs scream greedily: Hurray and Hurray !! / Songs are no longer necessary. / Then only the iron organs are still there / with their top-heavy flutes. ”And about the emigrants:“ What happens when friends leave / when they turn their backs on the country? ”In 1974, fifteen years earlier, Salli Sallmann wrote already : "Believe what they are telling you! / Always believe every piece of crap. / Feel how the gentlemen / play socialism with you / that you forget it ..." (proposal for the textual redesign of the national anthem of the GDR ).
Reimann's chanson about "Simple Peace" (Reimann / Schäfer) was a response to the inflation of so-called peace songs like the hit A Little Peace , which were written in the face of the armament of both systems, and Reimann's chanson was soon written by Gisela Steineckert with a text the same title answered. As a reply to the movement “ Swords to Plowshares ”, IM Heinz Kahlau from Berlin wrote the poem: “Peace must be armed”.
With "My love, you know the Vistula" themed Steffen Mohr the murder of the Polish secret to the priest and Solidarity -Unterstützer Jerzy Popieluszko .
Individual representatives
Andreas Reimann
Reimann was not a prolific writer, but many wanted to sing him. Since he could publish very little after his imprisonment, he wrote for interpreters. These included Joachim Schäfer, Hubertus Schmidt and Susanne Grütz, Stephan Krawczyk , Christine Tiepelmann, Andrea Thelemann, Barbara Kellerbauer , José Pérez, the group “Beginning of March” and some rock bands like “ Lift ”. There were over 50 performers in total. Many texts were set to music several times. His texts were always present on the stage, and whoever spoke up had to be measured and measured against him.
Werner Bernreuther
Bernreuther taught stage presence and interpretation, was a lecturer at the Leipzig Academy of Music, artistic director of the Chanson days in the monastery Michael Stone and from 1984 as Deputy Chairman of the Section Chanson and songwriter in the Committee for entertainment arts of the GDR. In this function, from 1986 onwards, he was responsible for the conception and implementation of a two-year course for songwriters, each consisting of 14-day intensive courses, the so-called "Songwriting College of the GDR".
His Leipzig pupils, for whom he worked as a mentor, included Hubertus Schmidt, Ilona Schlott, Dieter Kalka, Andrea Thelemann, Michael Pein, Maike Nowak and Ines Krautwurst, as well as Stephan Krawczyk (Gera / Berlin), Norbert Bischoff , Frank Viehweg, Liederfirma Dietze (both Berlin) and Edward Güldner (Dresden),
Even though Bernreuther mostly worked in the background, his quality standards primarily strengthened the critical songwriters. Because if a critical song was performed poorly, it could be criticized because of its poor artistic quality. Conversely, you had to at least talk about it. However, the officials avoided discussions about content as far as possible.
Marie-Elisabeth Thuemmel-Baum
The coloratura soprano Marie-Elisabeth Thuemmel-Baum was over ninety years old, was considered an insider tip and took 5 Ostmark for a singing lesson, if you came weekly, otherwise double. Your esoteric view of human sound production, such as B. the "world-spanning vowel A" did not fit into the prescribed atheistic worldview. Her students included Joachim Schäfer, Katrin Troendle, Dieter Kalka u. a.
Her gravestone reads: “Through love one serves the other.” That could almost also apply to the Leipzig song scene, or, as Ines Krautwurst put it a little more soberly: “We all knew each other. Even more: We even liked each other! "
Joachim Schäfer
"The material his songs are made of is that special piece of life on the fringes of marginalized emotional worlds ... Whoever thinks with the heart has a clear head for feelings." As a graduate of the Leipzig University of Music, Schäfer was a guitar virtuoso, composer and singer, his voice covered a few registers of bandwidth, and as a guitar teacher he brushed the fingers off some of the scene .
“If he were still alive, I would apply for an audience with him first thing tomorrow. Not with the Pope - with Schäfer, ”Kalka said of him. Hubertus Schmidt called him the “master of the quietest sounds”.
Award winners
Leipzig was called the chanson capital of the GDR because a disproportionate number of the winners of the National Chansontage Frankfurt / Oder came from Leipzig. Despite this, except for the October Club lyricist Kurt Demmler and the Duo Parasol (1989), none of the interpreters were given the opportunity to record an LP. Critical verses could hardly be prevented in the Gorbachev era, but their dissemination through the media and phonograms could.
Prices (National Chansontage only)
- Hubertus Schmidt (with texts by Andreas Reimann), winner of the 2nd and 6th Chansontage
- Silvia Pscheit, winner of the 3rd Chansontage
- Werner Bernreuther, winner of the 4th Chansontage
- Joachim Schäfer (with texts by Andreas Reimann), winner of the 4th and 6th Chansontage
- Thomas Heyn, winner of the 5th Chansontage
- Wolfgang Rothe, winner of the 6th Chansontage
- Heinz-Martin Benecke, winner of the 7th Chansontage
- Ilona Schlott, winner of the 7th Chansontage
- Susanne Grütz and Hubertus Schmidt (with texts by Andreas Reimann), winners of the 8th Chansontage (2 prizes, prize from the Lord Mayor of Frankfurt)
- Tobias Klug, Prize Winner of the 8th Chansontage (Prize of the President of the Committee for Entertainment Arts of the GDR)
- José Pérez, winner of the 8th Chansontage (with texts by Andreas Reimann)
- Duo Parasol, winner of the 9th Chansontage (2 prizes)
- Dieter Kalka, winner of the 9th Chansontage
- Maike Nowak, winner of the 9th Chansontage
- Ines Krautwurst and Stephan König, winners of the 9th Chansontage (with texts by Andreas Reimann)
- Ines Krautwurst and Stephan König, winners of the 10th Chansontage
Recording opportunities and mass media
While the October Club produced six LPs, with a few exceptions, official studio recordings, including individual titles, were as good as impossible, although professional studio machines and Neumann microphones were available in some cultural institutions such as the Leipzig House . Eichler described it like this: "And the radio was also a filter that only let purified songs through its antennae".
Therefore, from 1986 Hubertus Schmidt created recording possibilities for himself and his Lied theater “schmidt oder so” in his rehearsal room. Later - without a fee - also for colleagues like Werner Bernreuther, Christine Tiepelmann, Frank and Frey and Dieter Kalka. With a four-track Czechoslovakian reel tape from TESLA and a mixer. From 1987 onwards, Schmidt and Kalka initially sold tapes, and later audio cassettes with private recordings of their works as samizdat / magnitisdat, due to the lack of other publication options . In 1987, when a tape containing these recordings was smuggled to the West from Kalka, he was offered a record, but the letter arrived torn up.
In 1986 there was a TV recording of the Lieder-Circus from June 9th (with Grütz / Schmidt, Bernreuther and Klug). It was completely sold to Belgium and also sent there. At the end of the 1980s, often after successfully participating in the National Chansontage, studio recordings were commissioned. a. for Hubertus Schmidt, Susanne Grütz and Dieter Kalka. Maike Nowak was supposed to get an LP from Amiga, but it was no longer realized.
At the concert of Heinz-Martin Benecke, which the radio was supposed to record in 1988, one of the two boxes happened to fail , so that Benecke himself wanted to cancel. The concert was then recorded, but it was broadcast badly cut together. Schmidt / Grütz's studio recordings from the summer of 1989 were no longer transmitted via the Leipzig transmitter.
Werner Bernreuther already had a few titles on the AMIGA LP Kleeblatt No. 7, on the songwriters' hit parade and on the live LP of the song circus (recording from May 28, 1986), which Schmidt / Grütz and Tobias Klug also included one title each were represented. Heinz-Martin Benecke had three titles on the clover leaf no. 12. The LP “Shading” by the Duo Parasol was released in 1989. Here, too, those responsible at Amiga only began to rethink just before the fall of the country.
Shortly after the reunification , titles a. a. broadcast by Schmidt / Grütz and Kalka on WDR , NDR , DLF and Danish television ( Jens Nauntofte ). A 45-minute program about the Leipzig scene by Rüdiger Heimlich under the title "Musical Protest" ran in October 1990 on Deutsche Welle . Heinz-Martin Benecke worked for MDR until his retirement in the 1990s and produced chanson programs a. a. about Dieter Kalka. Jürgen B. Wolff, Schmidt and Kalka were later guests at “ Figaro meets ”.
Illegal sound productions / Magnitisdat
From the mid-1970s Hubertus Schmidt produced his own programs as well as those of other colleagues, which were then sold as Magnitisdat productions during the concerts. The artist found himself in a gray area and the reproduction of the sound recordings could have turned out to be legally to his disadvantage. A considerable number of sound recordings were made. They can still be heard on a regular basis in today's regular song scene broadcasts on Radio Blau and podcasts on the Allgäuer Milchschleuder Poesie & FeatureFunk.
Magnitisdat (selection)
- '' Lust and Loss '', "Reimann - Ensemble", Gisela Schmidt (voc), Andreas Reimann (voc), Hubertus Schmidt (p), studio schmidt or so 1976.
- '' Farewell '', Hubertus Schmidt, studio schmidt or something like that in 1980.
- '' Glashaus '', Hubertus Schmidt solo, studio schmidt or so in 1981.
- '' Galgenlieder '', Lied-Theater schmidt or something like that 1983.
- '' ... and even say what my desire is '', Duo Grütz / Schmidt, studio schmidt oder so 1986.
- ``22 songs '', Hubertus Schmidt with Sigmund Kisant, git., Studio schmidt oder so 1986.
- `` The blue flower '', Menzel, Menzel, Mau, studio schmidt or so 1987.
- '' Insatiable '', Dietmar "Didi" Voigt with Massa Großwig, studio schmidt or so in 1987.
- '' The utopian festival '', Dieter Kalka, studio schmidt oder so 1987.
- '' Die Schimmelblume '', Jens-Paul Wollenberg, Studio Schmidt or something like that in 1988.
- '' I still have the FREEDOM to love '', Dieter Kalka, Studio Schmidt or something and Studio Peter Gläser in 1988.
- '' Longing for homesickness '', Werner Bernreuther, studio schmidt oder so 1989.
Spies
Bernd Schubert from Klubhaus Völkerfreundschaft acted as IM Maik , Rainer Winkler from Haus Auensee as IM Hannes . Katharina Luft alias IM Henriette Neuberin was commissioned to “spy out the artistic underground of the city via the Kalka”, and Gabriele Gabriel as IM Elvira and Wolfgang Leyn as IM Jürgen Holzer worked for the MfS .
Reception in print media
Journalists like Moritz Jähnig and Harald Pfeifer wrote for Leipzig daily newspapers such as Die Union , Mitteldeutsche Latest Nachrichten and the Tageblatt . Conny Molle described and characterized the Leipzig song scene in detail in her portraits from 1985 to 1989, primarily for the Berlin monthly magazine Unterhaltungskunst .
Photographers
The most important photographer of that time was Jochen Janus. In addition to Edith Tar , Bernd Heinze in particular documented all solidarity concerts in the churches in autumn 1989.
Songs of the street
In the Middle Ages, music mainly took place on the street. In the mid-1980s, the first medieval folk bands began to revive this tradition, including some song singers such as theology student Jochen Läßig. But he, like the songwriter Dieter Kalka, let it come down to it and continued to sing, although it would result in an arrest. While over a hundred people were singing “We shall overcome”, Kalka was dragged out of the Mädlerpassage by a dozen police officers. The “illegal” street music festival that followed one month on June 10, 1989, before whose participation Comrade Geldner (Department of Culture at the Leipzig District Council) warned all Leipzig artists, “because he could then no longer hold his protective hand over them”, was then the beginning of the end of the workers 'and peasants' state. As soon as the street music festival was under way, many guitars were trampled on by security forces, the participants dragged onto trucks and "brought in". Läßig cost a fine of a thousand marks, many other participants paid up to five hundred marks. So everything ended as it once began: on the street.
Participants in the solidarity concerts in autumn 1989
The solidarity concerts took place in October 1989 in the Lukaskirche, the Michaeliskirche and the Bethanienkirche. In St. Luke's Church, money was collected to help those detained in the demonstrations. The following artists performed: Saxumi (Michael Massa Großwig and Thomas Hanke), Martin Jankowski and Andreas Schanze, Joachim Schäfer, Roland Morgenstern, Heinz-Martin Benecke, Erwin Stache , Dieter Kalka, the band "Defloration", Jörg Schneider, Andreas Reimann, the group Bistro (later “Dreif” with Anton Hudl and Matthias Brückner) Thomas Kunert and Jens Butscher, and others.
perception
From 1985 the monthly “Entertainment Art” published a detailed series of portraits “Leipziger Liedermacher”, which was preceded by an article about the “Leipziger Cafélieder”, where, according to the author Michael Meyer, the scene flourished primarily through the presence of the cafés, because “ Leipzig was undoubtedly the leader in the number of… coffee houses and bars ”. Conny Molle already used the term song scene in her second article about Joachim Schäfer , as the songwriters only made up a fraction of the singing guild.
Publications
- Leipziger Liederbuch , Ralph Grüneberger and Walter Thomas Heyn, songbook with sheet music, lyrics and photos by Sigrid Schmidt and Gerhard Weber, edition kunst und dichtung, ISBN 978-3-937264-33-2 .
- LEIPZIGER LIEDERSZENE from the 1980s , CD / DVD and book. Edited / Edited: Hubertus Schmidt, Jürgen B. Wolff, Uli Doberenz, Dieter Kalka. Loewenzahn / RUM Records. Leipzig 2018.
Series of broadcasts on the Leipzig song scene
- Liederszene-Sendung 1 with Hubertus Schmidt, August 22, 2017, 8 p.m., podcast on the Allgäu milk extractor Poesie & FeatureFunk
- Liederszene-Sendung 2 with Heinz-Martin Benecke, September 29, 2017, 8 p.m., podcast on the Allgäu milk extractor Poesie & FeatureFunk
- Liederszene-Sendung 6 with Jürgen B. Wolff on January 15, 2018, podcast on the Allgäuer Milchschleuder Poesie & FeatureFunk
- other broadcasts podcast with Clemens Peter Wachenschwanz, Sachsendiva Katrin Troendle, Ines Agnes Krautwurst, Susanne Grütz, Tobias Klug, Robert Mau, the songwriter Andreas Reimann on the Allgäuer Milchschleuder Poesie & FeatureFunk
Web links
- Detailed article about the Leipzig song scene, legally released original of the Wikipedia edition
- Website of the Leipzig song scene with lots of photos and background information
swell
- ↑ Michael "Salli" Sallmann's website
- ↑ Biography of Michael "Salli" Sallmann on Literaturport
- ↑ Biography of Michael "Salli" Sallmann at the HSH Foundation ( memento of the original from June 6, 2015 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ The Armament of the Nightingale - Diaries by Klaus Renft 1968 to 1997, Buschfunk
- ↑ October Club at "Deutsche Mugge"
- ↑ Song group 11/1, later Folkband Pedestrian ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ 3 band names: then Bistro , later Drive , today Market Place ( Memento of the original from August 1, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ MY FIGARO ABOUT ANDREAS REIMANN ( Page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Regional Council Rehabilitation Authority Chemnitz, AZ 23-5802.93 / 2007.09077
- ^ Vita Hubertus Schmidt
- ↑ About Werner Bernreuther
- ↑ Heinz-Martin Benecke ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ BSTU, July 11, 1984 - Report Abt XX / Leipzig, Ref.7.
- ↑ Structure of the concert and guest performance management Info: Structure of the cultural cabinets
- ↑ Leipziger Solidarität on the website of the Leipziger Liederszene
- ↑ Petra Lux - Head of the “Jörgen Schmidtchen” cultural center
- ↑ Ads from song events in Leipzig newspapers
- ↑ Thomas Mayer: Who does not give up. Christoph Wonneberger - a biography. Evangelische Verlagsanstalt, Leipzig 2014, ISBN 978-3-374-03733-9
- ↑ "Musical Protest", Deutsche Welle, broadcast on the Leipzig songwriting scene by Dr. Rüdiger Heimlich, 1990
- ↑ BSTU: July 11, 1984 - report from Section XX / Leipzig, Ref. 7; as well as "no admission of texts about military readiness, activities of the security organs" / 1/84 / Lpz .: "K. has written a song "Schand-Esel", which u. a. directed against the central leadership of the folklore movement and attacks progressive groups ”. From OAM "Lied", Erf.-Nr. 24 327, Ref. 7 / Krell
- ↑ All "professionals" from the catalogs ( offer catalog 1987 , Lied & Szene 1990) of the chanson and songwriters section of the Committee for Entertainment Arts / Ed .: General Directorate at the Committee for Entertainment Arts, the "amateurs" from appearances received and reviews of their concerts
- ^ Quotations from Hubertus Schmidt
- ^ Quote from the youth opposition
- ↑ BSTU: HA XX ZMA No. 21452: "Whether or not they will be elected, the results have already been determined"
- ↑ Longing for homesickness, texts and songs
- ↑ Mo (h) ritaten. LKG-Verlag, 1992
- ↑ Andreas Reimann: Brief portrait ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Entertainment Art, Volume 3/85, p. 8., Conny Molle
- ^ National newspaper , November 30, 1987
- ↑ Conny Molle, cover of the CD "Liebetrauerangstundtod"
- ^ Schmidt / Kalka about Schäfer
- ↑ The October Club… is present at practically every major political event in the GDR. One of the former members, Karl-Heinz Ocasek, was a producer at Amiga
- ^ DW Musical Protest
- ↑ All possibilities of duplication were regulated, only not - due to the rapidly advancing technical possibilities - the tonal one
- ↑ AMIGA 845 293
- ↑ AMIGA, No. 856471
- ↑ Magnitizdat of the Leipzig song scene
- ↑ BSTU, 013655 / 92L
- ↑ BSTU Chemnitz, 000134, Captain Göschel, assessment by IM Henriette Neuberin
- ↑ TOWER BOHEME
- ↑ BSTU Chemnitz, 000279, transcript Henriette Neuberin, July 13, 88
- ↑ BSTU no.
- ↑ MDR: New boss with a red past
- ↑ DIE WELT: "Mielke in the First"
- ↑ Bernd Heinze
- ↑ a b Steffen Lieberwirth: Who eynen spielmann zv tode schletzt… Edition Peters, 1990, ISBN 3-369-00272-8 , with reports of the participants of the street music festival , songs and dozens of documented criminal proceedings and the peak of regulation mania: Läßig was allowed to " Classification “Sing songs but don't make announcements
- ↑ MfS HA XX ZMA No. 21452, Strictly confidential / Gen. Stamnitz: "... the District Administration for State Security Leipzig ... is informed in order to initiate procedural examination measures for Kalka" - in plain language: court proceedings
- ↑ see also Joachim Walther "Security area literature: writers and state security ..." p. 438
- ^ Exhibition by Bernd Heinze in the Nikolaikirchhof, September 14, 2014
- ↑ Entertainment Art 1985, No. 3, pp. 8-10
- ↑ Entertainment Art , magazine, year 1985, issues 3, 5, 7, 8, 10 and 12
