“And since man is man”

“And because a man is a man” – Festival of a new political song

Sunday, August 28, 2022 // 3.30 PM

East Theater

Moriz-Seeler-Str. 1, 12489 Berlin

Brincadeir battery. Photo: Eastern Theater

Nadine Maria Schmidt. Photo: Eastern Theater

Jo Ambros & Martin Kaluza – “How the message got into the song”. Photo: Eastern Theater

Gina Pietsch & Frauke Pietsch – “From Brecht to Broadway”. Image: arbeiter@fotografie.com


15:30 – Brincadeir Battery (Berlin Samba Ensemble)

“Bateria Brincadeira” is an experienced samba band from Berlin from Berlin-Lichtenberg. Here, under the guidance of Paul Galonska, the students of the Herder-Gymnasium drum along with graduates and teachers to the fiery rhythm of Brazilian music. In addition to the traditional carnival styles of Rio de Janeiro and Bahia, the boundaries of swing, modern funk and hip-hop elements are explored. This mixture creates an exciting stage show with energetic music, varied choreographies and animating joy of playing that delights both young and old.

16:30 – Nadine Maria Schmidt (Leipzig, singer and songwriter)

Nadine was born on October 23, 1980 in Greiz, Thuringia. She grew up in the small town of Elsterberg in Vogtland. She found music only at the age of 23. She follows a self-didactic path without any musical preparation and with a medical diagnosis that she is not anatomically adapted to singing. she recovers. At the end of 2007, the first concert. She was still in English at the time.
In the meantime, she has played around 500 live concerts throughout Germany (and Poland), including concerts for Alin Coen (Tour 2012), Sarah Lesch, Kari Rueslåtten (The Voice of Norway), Manfred Maurenbrecher, Tino Eisbrecher and Maike Rosa Vogel.
In addition, the songwriter was honored with the prestigious award of the 2016 best songs list, which has already been received by, among others, Dota and Felix Meyer. Her texts have been published in various poetry anthologies. Its poetry and film adaptation of Rilke’s “Der Panther” found its way to teaching at universities in Germany and the USA.
Particular attention was paid to her songs about the refugee debate. For example, “Aluna – My Mother Was a Refugee” was described as “an incorrectly good song” on the cover of a dossier “ZEIT” or “Aleyna – Kinder von Idomeni” was published as a video in Konstantin Wecker’s online magazine “Behind the headlines”.

17:45 – Jo Ambros & Martin Kaluza – “How the message got into the song”

musical reading

What is left of the era of great song protest? Do today’s political movements have their own songs? Can you imagine the new “Blowin ‘in the Wind” in 2022? Martin Kaluza and Jo Ambros looked for answers on their own and in their own way. Kaluza began collecting the stories behind the songs involved on his blog Das Politiken Lied – and has been hearing political fears everywhere ever since. Ambros recorded two albums of protest songs, omitting the vocals and showing that really great protest songs have not only good lyrics, but also unrivaled melodies. This afternoon Kaluza is reading lyrics from his blog, and Ambros plays the guitar.

Martin Kaluza is an author and musician. He has a PhD in Political Philosophy and loves songs with a lot of words like “I love you” and “Yeah, yeah, yeah!” On his blog daspoliticallied.de asks around the world for songs with concerns.

Yes, Ambros is a guitarist. He recently released two albums of instrumental versions of revolutionary songs and protest songs. He played, among others with Helen Schneider, Circle of Friends and Cat Stevens.

around 19:30 – Gina Pietsch & Frauke Pietsch – “From Brecht to Broadway”

Kurt Weill’s evening

Pietsch’s mother and daughter sing and talk about Weill in Berlin, Paris, Broadway and Hollywood, about his struggles with life and art, and about playing and struggling with the production of art and life.
It all started with Brecht in 1927. A poet, a true poet, with a courageous embrace and wonderful empathy, Weill proclaimed after reading the extremely atheistic “House Postille” by Brecht, which meant something for the son of a cantor and a teacher of religion, brought up strictly in the Jewish faith. They met in Berlin, Paris, and America, mostly with different intentions and successes, the latter being the most blatantly different on Broadway, which Brecht said was the coolest nightlife sale and gambler-led drug trade. They understood so little of each other that David Drews, Weill’s greatest expert, explained this lack of understanding as the reason why six collaborative works were produced in four years, which brought the two world renown.
The black poet Langston Hughes, who wrote the text for Weill’s Street Scene, sees another reason for its success: “He had something to say, and he said it in the simplest and most direct way, in the most widely understood language. country. That is why Germany can present Weill as German, France as French, America as American and I as Negro. “

Gina Pietsch is one of Brecht’s great translators. He has been delighting listeners for decades with his characteristic voice, which brings the audience closer to the song from Mikis Theodorakis to Víctor Jara. Their repertoire is not only international and oriented towards social struggles. Pietsch himself has met musicians from Cuba to Vietnam, has worked with famous artists and is still committed to a fairer world.
And Gina Pietsch has a lot to offer. This dedicated path of professionalism is admirable. These were numerous meetings with important international witnesses, performances in countries with which we, the people of East Germany, showed solidarity. Gina Pietsch really has a lot to say. Important. It is a struggle for peace with high-level cultural means, with the awareness that peace must be a celebration of everyday life.

Miss Pietsch is a pianist and singer

  • Studied Music Science and Communication at the Technical University of Berlin, Master with Field Work on Lakota Music
  • German / English translator Berlin / Dublin since 1997.
  • temporarily co-organizer of the Music and Politics Festival
  • City tours of Berlin and Potsdam
  • Trainee music editor of the youth radio DT64
  • high school piano 1992; he has been singing since 1992; first engagement in 1990
  • since then active in various line-ups – also with his own arrangements and compositions (e.g. with Gina Pietsch, Stefan Litsche, Scarlett O ‘, Tina Powileit, Jürgen Ehle, Julia Schwebke & Friederike Ziegler)
  • Marx CD with Gina Pietsch 2019

Admission: 15:00

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