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