Third Reich Military Concerts…

During the years of the Third Reich 1933-1945, public concerts & radio performances given by the military orchestras and bands of the elite Wehrmacht & Waffen-SS Musikkorps, particularly by Adolf Hitler’s Bodyguard Division band, the Leibstandarte-SS, were very much a feature of civilian life in both pre-war & war-time Germany and as such were deemed a vitally important part of the propaganda morale-boosting of the German Home Front…

The co-ordination of these  important social and inherently propaganda events came under the control of the ‘Kraft durch Freude’ (Strength through Joy) organisation, a department of the Deutsche Arbeitsfront that oversaw and promoted public entertainment and holidays for the people throughout the Third Reich.

So it was that this KdF organisation took responsibility for promoting all of the pre-war military concert tours that regularly took place right across Greater Germany, plus all of the major musical events staged by the elite bands of theSS-Leibstandarte ‘Adolf Hitler’ and the Wehrmacht’s leading Musikkorps, such as the ‘Grossdeutschland’ Musikkorps within Berlin’s Wachbataillonen...

When rostered to perform concerts in public as part of their normal everyday military service, Wehrmacht & Waffen-SS soldier-musicians were governed by either the Oberkommando der Wehrmacht or the SS Reichsführung Hauptamt, and were paid in exactly the same manner as ordinary enlisted personnel, which was once every ten days at the rate of 25 Pfennig per day.

However, when they were booked to perform at a specifically-staged high profile concert or national event… or were out ‘on the road’ on tour across Germany for the Kraft durch Freude organisation, a separate deal would be struck directly with the Musikkorps in question, which proved to be a very valuable source of additional private income for all of the musicians involved…

Permission would be sought of the band’s unit commander by the KdF organisation to perform, and a fee of some 5% of the concert or event takings would be paid directly into the unit’s military account; thereafter, pay for the performers was carefully divided up, with the conductor/band-leader earning three shares and each individual musician, regardless of his rank, earning one share apiece…

It was not always possible for the full band line-ups to appear, however strict band rotas were operated to try to make sure that all the band’s musicians received the opportunity to play at these outside concerts and earn a little extra, and to ensure that musicians were specifically selected for certain concerts according to their required musical skills.Indeed the Musikkorps of the SS-Leibstandarte ‘Adolf Hitler’ had, within its line-up of musicians, a superb dance-band (right) that was always in demand to perform at private parties for the well-to-do in and around the German capital, Berlin…

By way of further prospects for additional earnings over and above their normal military pay, all of the top Wehrmacht & Waffen-SS military orchestras in fact were also readily available (and much encouraged by their separate High Commands) to perform at private functions, weddings, family celebrations and myriad gatherings laid on by senior ministers, dignitaries, government officials and the military Top Brass.. an opportunity these highly-trained, professional musicians never missed when offered… their day-to-day military duties permitting. of course!

All Wehrmacht & Waffen-SS Musikkorps performances that were tightly organised and overseen by the Kraft durch Freude, also included those live performances broadcast on Greater German radio, such as the most important Sunday night Wunschkonzert für die Wehrmacht, (Request Concert for the Armed Forces, broadcast from Reichssender Berlin).

In addition the KdF also took on overall responsibility for organising the regular professional studio-recording sessions that many of the leading Musikkorps, (such as the Musikkorps LAH & ‘Grossdeutschland’) had with the leading German music labels, including Telefunken, Electrola, HMV & Gloria, where these varied musical activities would also result in a similar division of additional pay amongst the participating musicians, plus vital contributions to the individual band’s military fund…

           Copyright @ Brian Matthews 2014

Battle of Britain Movie Soundtrack…

One of the regular questions, (or perhaps that should be requests), Tomahawk Films receive from our customers is: “do we have the fantastic ‘Battle of Britain’ opening track as featured in the 1969, Guy Hamilton-directed movie?”…and those self-same customers are always amazed or shocked, (usually in equal number), to learn that this ‘original march’, is actually nothing to do with the  pre-1945 Luftwaffe and was in fact a superb piece of modern composition by the English musical film-score composer Ron Goodwin, who actually penned this march especially for the movie…

Far from being performed by an original  Luftwaffe Musikkorps, (for if you think about it, the Luftwaffe actually lost the Battle of Britain, so why would Hitler want a march to celebrate getting his backside kicked by ‘The Few’), this stirring march is in fact a perfect replication of a war-time German air force band; but just goes to show how talented a musician & composer Mr Goodwin was, for he was able to listen to, and professionally deconstruct, Luftwaffe music as created by the legendary Head of Luftwaffe music Musikinspizient Prof. Husadel and then actually write & create, from scratch, a stunning piece of military marching music that the majority now think was a Luftwaffe war-time original!.

Incidentally, the upside of  this ‘modern’ Battle of Britain March is that it is a fantastic way of discerning if the dealer you are buying ‘original’ German war-time music from actually ‘knows his stuff’ or is merely one of the many pirates. There are a number of American companies and individuals offering their ‘Luftwaffe musik’ and who proudly include this piece as The Battle of Britain Marsch, without the faintest idea that it is not an original German, but a post-war British composition.. so you can certainly play ‘spot the faker’ with this one.!

We do actually have a fantastic 4-minute research copy of the late Mr Goodwin’s track in our Archive and we contacted his estate to see if we could acquire the distribution rights to it, to be told the copyright was now owned by EMI. Sadly they have not responded to our polite request to promote it as an ‘interest piece’, so as it stands we can do nothing with this track without the correct permissions, (and I am not actually sure how we would market just a single track anyhow!)

However I am delighted to say that  if you are after one of the truly defining Luftwaffe tracks of the 1935-45 era, the superb Bomben auf Engeland, is on Tomahawk’s Musik der Luftwaffe CD, along with a number of other stirring & evocative Luftwaffe marches &  korpslieder).

This stunning piece of military music was composed by Norbert Schultze for the 1939 Tobis film ‘Feuertaufe’ (Baptism of Fire) which documented German air operations in the Polish campaign and was produced by a serving Luftwaffe pilot, the pre-war film director Hans Bertram..!

On its completion the documentary was shown to Hitler who was so ecstatic he ordered it to go on immediate release, but wanted a different tune from Pruessens Gloria (initially the movie’s final stirring track), and ordered a musical back-drop to reflect his next target: Britain..!

Hitler’s Navy had their signature tune: ‘Wir fahren gegen Engeland’ (on Tomahawk’s CD Musik der Kriegsmarine), and now The Fuehrer wanted his mighty Luftwaffe to also have their very own marching song,  thus Bomben auf Engeland became the new ending for this fantastic piece of Luftwaffe propaganda-documentary film-making and another German military-song legend was born… not long before Hitler’s Air Arm would face its first defeat… and at the hands of the Royal Air Force!

Copyright @ Brian Matthews 2012