Musikschulen für Jugend und Volk…

During the Third Reich, the Hitlerjugend evolved into a very powerful political youth organisation whose leadership, the Reichsjugendführung (RJF), soon began to control & direct every aspect of music, from the recruitment of musicians and the selection of songs & music, to setting & laying down the very strict standards required for German musical education.

However, the RJF realised that to achieve its aims a completely new generation of politically motivated young musicians had to be raised & trained from scratch. So between 1934 and 1936, detailed plans were developed & implemented for the creation of ‘Musikschulen für Jugend und Volk’ (Music Schools for Youth & People).

It was seen as vital that these new musicians be taught by the ‘right’ minds and so this period also saw the creation of a national state music school, the Staatliche Musikschule Berlin, for the training of youth orchestral group leaders in the required subjects: choir schooling, instrumentation, cultural & educational policy and the theory of civilian & military music.

So, in the pre-war years, gifted young people at regional & national levels within the HJ were sent to the Musikschulen für Jugend und Volk and the Staatliche Musikschule Berlin, with many students receiving grants from the Department for Schooling & Culture within the RJF. From this early musical & political education within the Third Reich would come many highly talented future Wehrmacht & Waffen-SS military bandsmen, conductors & musical directors.

In order to show off its achievements, further integrate music into civilian German life and attract additional high quality musical recruits, the RJF regularly organised music festivals at both regional & national level across the Reich! Such national events, known as Reichsmusiktage der HJ, took place at Erfurt in 1935, Braunschweig in 1936, Stuttgart in 1937, Weimar in 1938 and Leipzig in 1939. Now that the Hitlerjugend had established its musical credentials and successfully taken control over all aspects of youth musical education, many well-known and sympathetic musicians & performers were invited to these, by now, famous events.

Guests included pianist Elly Ney, who observed that “music and culture were in the best hands within the HJ because the youth trusts its leaders without reservation and because their leaders have adopted Hitler’s idealistic aims are a living example to those who lead…”

However, whilst not all musicians throughout the Reich were quite as effusive as Elly Ney in their support, most, nevertheless, appreciated the prominence and backing being given to music, the level of instruction and training being offered and the enthusiasm with which it was being received by the nation’s youth! Accordingly many renowned musicians such as violinist Georg Kulemkampff, pianist Edwin Fischer, conductor Hermann Abendroth, and several ensembles including the Dresden String Quartet, were happy to join Elly Ney in performing at a series of Youth Concerts staged by the RJF between 1940 and 1942.

The musical policy of the Hitler Youth was certainly bearing fruit with over thirty per cent of these concerts being performed entirely by musicians, soloists and conductors drawn from Hitler Youth musical schools across the Reich alone.

It is also very interesting to note that a conscious political decision was made that entry to all of these Youth Concerts should not be free, but an admission charge of 50 Pfennigs would be levied, in the belief that ‘German youngsters should learn that culture is something of value’!

By the time of the outbreak of the Second World War in September 1939, there were over 1200 HJ brass bands (or Musikzüge), orchestras, fanfare groups and marching bands (or Spielmannzüge), totalling some 36,000 members. In addition, a considerable number of Germany’s youth also gained their first ever experiences of music whilst watching and listening to these bands’ regular performances during the maelstrom years of the Third Reich 1933-1945…

Copyright @ Brian Matthews 2014

Wehrmacht Military Musical Training…

“The essence of being a soldier, the inner and outer discipline, the readiness for action finds its most compelling expression in the march, which even today, we simply refer to as the ‘military march’. As a soldier is expected to think, speak, look and act, even when not on duty, he is similarly expected to sound like a soldier when making music”…so quoted the Handbuch für die Singleiter der Wehrmacht when first published in 1940…

Viewed with the same seriousness as combat or specialist personnel, career military bandsmen of the Reich were recruited from the following four backgrounds: firstly there were the professional musicians in civilian life or former musicians with the Imperial German Army or Reichswehr who answered adverts in the Deutsche Militärmusikerzeitung (German Journal for Military Musicians) for specific musical posts within the newly formed Wehrmacht and SS Musikkorps during the pre-war period of 1933 to 1939, or who applied to join a military band having been called-up for general military service after the outbreak of war in 1939.

Second category would be young, fully trained Hitlerjugend musicians or gifted amateurs spotted by a SS or Wehrmacht Musikmeister and subsequently invited to join the unit or divisional band.. whilst a third grouping were drawn from young soldiers and part-time ‘hobby’ musicians who, having undertaken their pre-war six months training with the Reichsarbeitsdienst, then joined the Wehrmacht and were spotted by their regimental bands as potential recruits and recommended for formal military music training.

The final group would be comprised of professional military bandmasters and musicians recruited upon completion of their musical training in the Wehrmacht and Waffen-SS respective military music academies (Heeresmusikschule Bueckburg & SS Musikschule Braunschweig) or the elite Berlin Music Academy.

In the previously quoted Third Reich’s official German Army Musician’s handbook ‘Handbuch für die Singleiter der Wehrmacht’, Major Ernst-Lothar von Knorr on the staff of the Oberkommando der Wehrmacht (German High Command) confirmed in his writing:

“Only professional musicians or young men with substantial musical training can become Wehrmacht musicians; they are either recruited as volunteers or by the Wehrbezirkskommando (regional army administration), once they have reached call-up age. Posts are advertised daily in newspapers & specialised publications and musicians are tested in their musical ability by the Musikmeister. The new military musicians must have mastered their main instrument to such a degree of competence that they can immediately take up their place in the band, which they will do upon completion of their basic training.

If a post becomes vacant, they will be assigned to it after signing a 12-year contract and if showing the required aptitude, will be admitted to the training programme for musician NCOs. This admission depends on a favourable report by the Musikmeister. Apart from a wide-ranging knowledge of music history, successful candidates are required to play not only their main instrument but a secondary one as well.

If they show exceptional ability and leadership qualities, two further career paths are open to them: without reference to their previous length of service they can be made Korpsführer; in this position they will stand in for the Musikmeister and bear the rank of a senior NCO,which in the Wehrmacht is either a Musikoberfeldwebel or a Musikoberwachtmeister.

The second option is the training to become a Musikmeister: candidates are nominated by their own Musikmeister who will oversee their preparation for admission to the Staatliche Hochschule für Musik (State Musical Academy), in Berlin where they will enjoy reduced military duties to assist with their studies. The academic training at the university takes 3 years and music students follow a set curriculum which comprises both practical & theoretical subjects.

Apart from purely musical duties, students are also trained for the military leadership of a Musikkorps (regimental band), and a Spielmannszug (fife & drum corps), and the course culminates in practical musical and an equivalent military examination. Before they embark on this course of study, successful candidates have to sign up for an additional 6-year contract over and above the general 12-year one, and a Musikmeister can expect to progress to the rank of Obermusikmeister and Stabsmusikmeister.

The musical demands of young military musicians are high and the daily rehearsals are serious work, therefore their selection and training is a matter of great seriousness….”

And this is certainly borne out by the Wehrmacht & Waffen-SS musicianship evident on the original 1933-45 schellack 78rpm recordings, digitally re-mastered to CD and on offer in The Tomahawk Films WW-II German Archive…

Copyright @ Brian Matthews 2014

Third Reich Spielleute…

As one thought or action invariably leads onto another so, as the bugler and drummer/fifer are forever linked historically down the ages, did I find myself moving from former naval cadet bugler to rock-drummer with ‘Adam West and the Gotham City Rockers’, amongst other bands, early on in my pre-television professional life.

However, like many other tub-thumpers I have also endured much stick as a result, for we un-sung souls, (beavering away at the back of the stage to ensure the ‘rock gods’ in the spotlight at the front kept time & looked good), are always the much-mocked ones and never taken seriously by our fellow musicians… though have you ever tried playing a full 5-piece rock kit and seen just how difficult it is? So perhaps having mastered this complex instrument myself I wasn’t quite the knuckle-dragger as depicted by the ‘real’ musos!

However on the basis of ‘once a drummer, always a drummer’ my continued long–time interests in the infantry bugle also helped keep alive, (once I’d given up active rock drumming), my interest in the snare-drum in its military role with the company bugler and drummer & fifers… an integral part of any military column throughout history.

Markedly different from the ‘standard’ German military musician and forever at the head of the company on the march, the Spielleute…literally playing people… have, with their fife & drums, (together with my beloved signalhorn), seemingly forever been a part of military lore. In fact the fife is very much an historical instrument in its own right having been given to the world by the ancient Greeks, and then picked up by Swiss mercenaries who used them in conjunction with drums as far back as The Middle Ages.

Adopted by the British army in the 18th century, the Third Reich’s Hitlerjugend was to take to fife & drumming with a great enthusiasm and ready zeal in the 1930s and today fifes, (along with bugles), are always associated with drums, with the German military term Trommelflöte in fact meaning ‘drum flute’. Made of black ebony and normally tuned in C of normal tuning the fife (or Pfeife in German) measured approximately 15 inches in length and when not being played was kept in a brown or black leather fife case suspended from the bugler or drummer’s leather belt to the rear of his bayonet and frog.

However, the oldest of all the military instruments is the snare or side-drum dating right back to The Crusades and, used in conjunction with the fife, was an effective way of keeping an army in step and on the move; like bugles they were also used to signal & transmit orders. In the 17th century, German armies went into quarters during the winter until a spring offensive could be launched, with soldiers being billeted in a town or village and with only the locals inns and hostelries for entertainment.

To encourage the soldiers to return to their billets at the end of the evening, the inn-keepers would turn their ale-taps off promptly at 10pm. This ‘witching hour’ would then be communicated to inn-keepers and soldiers alike by the garrison drummers who, in the company of an officer and sergeant, would set off around the town beating out a rhythm, whilst checking and ensuring all soldiers were on the move. From this action the word Tattoo’ which we are all now very familiar with in today’s military phraseology is thought to have been coined, derived directly from the Dutch phrase: Doe-Den-Tap-Toe or ‘Turn The Taps Off’!

Wehrmacht snare drum barrels were made of a brass and their batter heads made from calf-skin whilst snares were made from four catgut cords which were strung tightly across the lower drum skin and were held in place by a brass knob on one side and a hook and cord-screw on the corresponding side opposite. The skins were held in place by a wooden inner ring and an outer ring, the latter having a thin covering of copper, and the complete drum was held together by 5 stretching screws  evenly spaced around the body. Additionally a piece of strong curved wire, either covered in field-grey cloth or bound in leather, was riveted to the drum’s bottom rings as protection for the drummer’s trousers or breeches…

By a German army order of August 1933, all military snare and side drums were to be painted white on the inside and on top of the wooden drum rings, whilst the outsides should have 39 red lacquered isosceles triangles along the outer edge, with 39 black triangles along the bottom edge, both pointing inwards, with the resulting squares pattern formed between the triangles in white.

Whilst Luftwaffe and Heer & Waffen-SS snare drums had a standard brass barrel, it was custom and practice for the Kriegsmarine to over-paint the brass in a dark or medium blue. Hitler Youth & Sturm Abteilung snare drums, produced in 3 differing sizes, were painted in red and white alternating triangles, whilst those of the Allgemeine-SS & Waffen-SS sported alternating black and white triangles… and if you actually get to see or handle one ‘in the flesh’ very attractive items they are too…

Incidentally, talking of the Spielleute and their musical armoury of fife, drum & signalhorn, (another subject I write about in some length in the Tomahawk Films-produced book The Military Music & Bandsmen of Adolf Hitler’s Third Reich 1933-45), the bugle itself was originally developed, way back in the dim & distant past by the French as a hunting accessory. In fact ‘bugle’ is actually the French word for ‘young bull’ and it was to be the German & French armies that adopted the instrument for military use, and its primary role was in the passing of signals on the battlefield and in camp, including ‘To Arms’ or ‘Last Post’.

As such it soon became an instrument of major significance within the German military, with all units parading its own signalling bugler.

However, finally as a sign-off for this particular Blog, whilst having dwelt primarily on the subject of the snare drum, though not an instrument of the Spielleute but very much harking back to those aforementioned Swiss and indeed German mercenaries of the Middle Ages, is the Landsknecht drum that was peculiar to the Hitler Youth and Deutsche Jungvolk. Certainly a most formidable-looking and very attractive military instrument, its skins were made from calf-hide, and its wooden drum rings were secured top and bottom by rope cords tautened by leather thongs.

Often used en-masse as part of the formidable Nazi propaganda machinery, these impressive drums were worn suspended on a black leather strap over the right shoulder and hanging down at an angle on the drummer’s left and in place of the standard drum-sticks, it was played by two cane-stick beaters with thick white felt pads on the end…

The usual or standard colour-scheme for these beautiful drums was a most dramatic, almost vivid red & white burning flame design for drums paraded by the Hitler Youth, and a similar black & white flame design for the Landsknecht drums of the  Deutsche Jungvolk. The DJ drums also appeared as a very dramatic design of black with a white runic device to the front. In terms of drum size, as with military snare drums, smaller sizes for the shorter boys were produced and issued.

In addition, though a musical instrument forever linked with the propaganda film newsreels of Hitler’s Germany, they were also used later on in great numbers in post-war East Germany, where they were repainted in blue & yellow of the FDJ and re-issued for use by the myriad Communist Youth bands, so as the saying goes: ‘the apple never falls far from the tree’!

Copyright @ Brian Matthews 2013

Soldier Songs in the Third Reich…

As I soon came to discover when producing Tomahawk’s comprehensive & very varied catalogue of original WW-II Two German military & civilian music,  including the Military Music of Adolf Hitler’s Third Reich 1933-45, nothing in life is ever really new, for many of the so-called classic Nazi party songs & tunes adopted by the Sturmabteilung, Hitler Youth, Luftwaffe, Kriegsmarine, Waffen-SS, Heer, Afrika Korps and so on, were in many cases, simply old Imperial German marching songs or classic German folk songs adopted and adapted with much military pride or fanatical fervour by the Third Reich.

Many traditional soldier songs, from Als die Goldene Abendsonne & Ein Heller und ein Batzen, to pre-WW-1 One songs like Lippe Detmold, & Strassburg O’ Strassburg date as far as the 1700s rule of Friedrich the Great. In fact Wenn alle untreu werden, the official anthem of the SS, dates right back to 1568.

However, under the aegis of the Third Reich, many of these traditional Prusso-German military songs & tunes were now adopted by individual military units and regiments as their own official corps songs; as such, they were sometimes known either by their original historical name or, more commonly, as the song of the particular unit that had adopted it.

For example, ‘Ritter der Nordsee’ was adopted by the Kriegsmarine and became known officially as the Lied der E-Boots (or Song of the E-Boats), whilst the traditional ‘Argonnerwald’ became the Song of the Pionierkorps. Elsewhere, the Luftwaffe’s flak crews adopted ‘Leb Wohl, Irene’ as their own, ‘Es War ein Edelweiss’ became known as the Lied der Gebirgsjäger (Mountain Troops), and ‘Rot Scheint die Sonne’ became the favourite and stunningly evocative tune of Hermann Goering’s paratroopers and henceforth known as the Lied der Fallschirmjäger.

The creation of new and stirring songs to accompany the battle campaigns were also encouraged by the Reich; as such the great German marching song composers of the time, Prof. Herms Niel, Norbert Schultze and Hermann Löns were to flourish through the writing of such stirring songs as Wir fahren gegen Engelland (for the planned assault of mainland Britain), Das Frankreichlied (to accompany the German assault on France), and Vorwärts nach Osten (to eulogise Hitler’s eastern campaign against Stalin’s Russia).

In some cases, new politically inspired words were simply set to old & well-known German melodies, such as the new Hitler Youth march, ‘Durch deutsches Land marschieren wir’, penned by Herbert Hammer, which was dropped onto the tune of the old World War One favourite, ‘Argonnerlied’! 

However, despite Germany’s awesome strength as a military nation and the undoubted prowess of its individual fighting men, the actual subject matter and contents of quite a large number of the newer marching & folk songs penned, with the full encouragement of the Third Reich leadership, were surprisingly gentle and non-militaristic.

Many more tunes now spoke longingly of dearly loved and much missed mothers & girl friends (the names of Gerda, Ursula, Rosemarie, Monika & Annemarie being extremely popular with songwriters and soldiers alike!), and of the varied  regions of the soldiers’ beautiful German homeland, with many fond references to the nation’s abundance of mountains & heathlands, flowers & trees, rivers & oceans, towns and hamlets!

The re-vitalised German film industry, now flourishing under the patronage of Nazi Propaganda Minister Joseph Goebbels, was to also introduce a number of well-known Third Reich military songs, including ‘Soldaten sind immer Soldaten’ from the film ‘Der Westwall’ and the very popular naval tune, ‘Wenn das Schifferklavier an Bord ertönt’, which was written especially for the film ‘Das Wunschkonzert’ (the movie story of the German Armed Forces radio request show Wunschkonzert fuer die Wehrmacht), before being enthusiastically taken up by the German military and civilian audiences alike.

Strangely, many of the new marching songs, although written by many differing lyricists, appeared to share many common words, sentiments and even choruses, so making it not uncommon to come across songs bearing exactly the same main title, with often only the sub-titles distinguishing them upon first glance..!

In addition, this sudden re-emergence of German songwriters & composers in the 1930s and early 40s, from both the ranks of the professional civilian musician and the trained soldier from the armed forces, also gave rise to more than one version of a song actually staking its claim to be the official Korpslieder for a particular unit, which caused confusion!

This resulted in differing lyrics & arrangements appearing across a range of official military song-books under the same title, as in the case of both the U-Boot Lied and the Lied der Afrika Korps, where at least 2 different songs claim to be the ‘official’ D.A.K. anthem, whilst there were 8 separate songs devoted to the U-Boot arm in the Kriegsmarine song-book Blaujacken-Lieder’..! 

         Copyright @ Brian Matthews 2013

 

Songs of the Waffen-SS Veterans…

During my career as a producer with Tomahawk Films I have been blessed to receive much help & generous support for my on-going work with the German Soldier Song, not least of which was from the Waffen-SS Old Comrades association in Germany, a very proud organisation unashamed of both its musical inheritance and tradition of being widely regarded as the finest fighting soldiers the world has ever seen.

Sadly it is no longer as once was and despite there being no specific German military musical veterans associations in place today there were, when I last specifically checked, just 33 surviving musicians from the Musikkorps der SS-Leibstandarte ‘Adolf Hitler‘which was quite some number, given their ages…

Obviously a number have passed away since I began my work and studies including, at the end of last year, their spiritual leader Obersturmbannführer der ehemalingen Waffen-SS 1.Generalstabsoffizier der 12.SS-Panzerdivision “Hitlerjugend” Hubert Meyer, but of the remainder who are still with us, some are still able to meet up each year to relive the old days when they served as bandsmen in the Hitler’s elite SS-Bodyguard Division. In fact a number of former SS-LAH bandsmen went on to have post-war musical careers in West German theatres and orchestras, though none of them play today, for as late SS-Musikmeister Gustav Weissenborn remarked to me during our time together in Germany, “their teeth are now like the stars, they come out at night…!”

HIAG, the official German umbrella organisation of the Waffen-SS Veterans Association, though no longer active, very much strove to keep the musical aspect of their short military history alive and back in 1975 their SS Veteran’s Soldatenchor in Minden, comprising former soldiers with the elite Waffen-SS units ‘Das Reich’, ‘Germania’, ‘Wiking’ ‘Der Führer’, ‘Totenkopf’, ‘Deutschland’,Hitlerjugend’ and the SS-Leibstandarte’ Adolf Hitler’, all under the driving leadership of Willy Casselmann, set about recording on tape some of their most favourite Waffen-SS Marschlieder in their true, unaccompanied fashion.

During the research for my book The Military Music & Bandsmen of Adolf Hitler’s Third Reich 1933-45, Willy kindly shared their story with me:

‘At the age of 76 I have been chairman of the Minden HIAG Association for some 45 years, and as much as my age permits, I manage to hold & keep all the comrades drawn from former Waffen-SS units (and many now in their eighties) together. In addition, and along with the late editor of the German Munin publishing house, I was the main driving force behind the making of our record  ‘Lieder die wir einst sangen’ (Songs we used to sing).

Over the years, and with the help of amateur choir-masters, we rediscovered our love for military songs and at the end of almost every monthly meeting of our Waffen-SS Old Comrades Association there would be an informal sing-song, and again whenever we met up in the beer hall. However, it took us a while to gather up all of our courage before we were able perform our songs for the entertainment of other old soldiers’ associations!

It took many hours of practice, discipline and hard work before we were able to raise our singing to a recordable quality, but we did and then found ourselves gathered in a small room above a beer-hall in Minden to record some of our favourite old songs. Mind you, the function room above the beer hall had a creaking floor, so no-one was allowed to move their feet during the recording; we were also very nervous and our amateur choir-master present had some difficulty in getting the fifty veterans present under control!

However, we were very fortunate that we had with us on that day, along with our Munin editor, a musical expert in the shape of SS-Hauptsturmführer Fritz Bunge, who was not only the former Chor-und Musikmeister with the elite Waffen-SS regiment ‘Deutschland’, but had written the Munin-published book ‘Musik in der Waffen-SS’. He took charge of the session; all went smoothly and everybody was very happy with the end recording, which we released on a limited record run under the title ‘Lieder  die wir einst sangen…”

Sadly Fritz Bunge died shortly after that famous recording session in the room above the beer-cellar, but several choir members, despite their great age, are still singing just as lustily today!

That original recording was to lay untouched for many years until 1998 when, by chance I unearthed an old copy and, re-naming it ‘Die Waffen-SS Alte Kameraden Singen!, was able to have it digitally re-mastered by the legendary Simon ‘Woody’ Wood up at Dubmaster Studios and released, by kind permission of Willy Casselmann and the SS-Veteran’s Soldatenchor Minden, first as a 14 track cassette and thence onto to CD through an exclusive arrangement with the Tomahawk Films World War Two German Archive.

This then led to a second Veteran’s recording that Tomahawk Films were additionally granted exclusive rights to. Released under the title: Soldatenlieder und Hornsignale der Waffen-SS it featured more superb acapella choir recordings interspersed with original Waffen-SS bugle calls performed by former SS-Hornist Arthur Schulte.

In addition, following the SS-Veteran Soldatenchor’s local success with their recording venture,  Willy Casselmann and his Minden comrades placed an advert in the Waffen-SS Association’s in-house magazine ‘Der Freiwillige’ (The Volunteer), appealing for readers and fellow old comrades to send in any German Marschlieder lyric & music scores they might still have in their possession.

Their plea was well received, and from the numerous replies received, the HIAG Association was able, through their publishing company, Munin Verlag of Osnabrück, to compile, print and publish their own individual and very personal song-book (also entitled ‘Lieder, die wir einst Sangen’, after their record title), a copy of which I was given during my book research and which, Tomahawk Films were given kind permission to re-print in 2000.

Interestingly the preface written by Karl Cerff  read: ” The collected songs of a nation are an expression of its attitude to life. The Germans are amongst the most song-loving of peoples and their treasure of songs is varied, widely known and sung wherever German people live.

The soldier’s song plays an important role within these songs as it represents a part of the soldier’s life. It recalls memories of comradeship, of home and family, of a soldier’s love and a soldier’s death. Those who have been in the armed forces themselves will particularly know the strength of a soldier’s song. Such a song had the power to raise a whole company after a great action and enable them to renew their efforts. Ex-servicemen will also remember many a day in the barracks, in the quarters, in the field or on exercise, that was brightened by both sad and cheerful songs.

Of equal importance as the soldier’s song is the folk song. It reflects the soul of our people, it is part of traditional lore & the beauty of the German mother tongue resonates from its verses & melodies: natural cheerfulness or pensive earnestness, joy of life or deep sorrow. They all find expression in folk songs as the feelings of a people from the same way of life.

Even if the hardship of the past decades has dampened the joy of singing, we are encouraged by a re-awakened longing, which in print one only dares to refer to as nostalgia, to publish this small collection of songs that we once sang.The collection is incomplete and worth completing.

We would like to thank all our comrades and friends for their co-operation and we hope that the Songbook will give some pleasure and that it will become indispensable at old comrades’ meetings, at celebrations, on hikes, even at gatherings of friends or families. Let song become a bridge between generations..!”

Looking through it, all the old classics were there: ‘Im Feldquartier’, ‘Deutschlandlied’, ‘Lebe wohl du kleine Monika,’ ‘Mein Regiment, mein Heimatland’, ‘Ich hatt’ einem Kameraden’, ‘Wenn alle untreu werden’, ‘Im Grünen Wald’, ‘Es ist so schön, Soldat zu’ sein’, ‘Drei Lillien’, ‘Schwarzbraun ist die Haselnuss’ and ‘Jawoll das stimmt’ (which appears under a different name as ‘Nordsee’).

Certainly the former members of the Waffen-SSand indeed those  of Germany’s equally famous Afrikakorps need no encouragement before bursting unselfconsciously into song at any given opportunity. But the question often arises in my mind: what happens when the last of the World War Two German veterans are no longer with us to carry on this fine military musical tradition..?

                    Copyright @ Brian Matthews 2013

Tomahawk’s CD Covers – Pt 2

Over the years, as a full-time professional German sound & vision archive we have put a great deal of thought into the selection of the CD & DVD covers we produce for the Tomahawk Films’ WW-II German Archive range of products and, aided & abetted, by our very talented team of printers & graphic designers, many of them feature some seriously striking black & white original German images that are, again, taken directly from original German WW-II military music-related photos in our archive.

Such evocative covers that our production team enjoyed designing include Reitermaersche -The Cavalry Music of the Third Reich and the Lieder der Sturm-Abteilung und Hitlerjugend, which utilised some of our exciting period photographs, so too with the Instrumental Marches of Hitler’s Elite Musikkorps & Musikschulen CD, which features a  very rare photo of a Belgian Waffen-SS clarinettist from the ‘Westland’ Musikkorps.

We’ve worked hard over the last 25–plus years we have been in this business to develop a distinctive ‘house style’ and our very noticeable ‘Tomahawk Films Red’ colour scheme, (as it is now known in local professional printing circles), has really become something of an international trademark down through the years..that and the fact that our audio CD releases are only ever released in smart, fully-tailored cardboard sleeves or slip-cases..!

We have often been asked by customers why we do that and not use ‘standard plastic outers’ that you buy your High Street CDs in? Well the answer is quite simple: to try to combat piracy..!

Sadly the only downside of Tomahawk Films’ global success in this archival field, (and the bane of our life!), is that our hard-sourced & expensively re-edited audio material makes us a targeted company for the ne’er-do-wells and as such most, if not all of our music, (at least, though very probably our DVDs as well), is now widely pirated around the world from Russia to America and from Latin-America to the Far East… but most pirates save their own money and simply colour-photocopy our covers and slide them, along with their home-computer-copied CDs, into plastic jewel cases..!

It obviously too much like hard work and is far too costly for them to go to the trouble of doing a ‘proper job’ and printing a professional slip-case card-board cover as we do, (though one very well-known US pirate has given it a good go..thanks bud! )… so when you buy a Tomahawk Films’ original factory-produced Musik CD,  (whether from us or from one of our official dealer friends), and it comes in the striking Red & Black Tomahawk cardboard slip-cover you can, (usually 9 times out of 10) be assured that, for the most-part, you are buying ‘the real deal’..!

If in doubt by all means contact us and we’d be happy to confirm if the dealer/on-line shop you are thinking of buying from is one of our official dealer-friends & partners… if they aren’t, then sadly it’s a good chance it’s ‘duff’’. Incidentally, at the moment we do not sell on Amazon-US, just an official presence on Amazon.co.uk, if that gives you a clue..?

In America our original Tomahawk Film’s products are only ever represented by our good friends at International Historic Films in Chicago and The Military Issue in Minneapolis.. though we are in negotiations with a new company that would like to represent us at selected US Arms Fairs, which could be interesting…

…. and whilst on the subject of ne’er-do-wells, if it is helpful for you to know, we do not offer Tomahawk Film’s WW-II German Archival downloads anywhere in the world… so even if an on-line company states it is a ‘legal down-load company’, (as it would do!), if it is ‘Tomahawk Films’ material that you see or hear being offered to you as ‘free streaming’ or as a digital download, then it is most definitely illegal, probably low quality.. and they have absolutely no licences issued by us to do so..!!!

Copyright @ Brian Matthews 2012