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

 

Collecting Nazi Song-lyric Postcards…

When I started out on the long road of producing & digitally re-mastering Third Reich/Nazi-era military music over 25 years ago, I never for one minute imagined that, through Tomahawk Films, we would have the pleasure of not only selling hundreds of thousands of such historical important albums to collectors & enthusiasts around the world, but that I would also embark on a personal 7 year journey of study that would result in my reference book entitled: Military Music & Bandsmen of Adolf Hitler’s Third Reich 1933-45 or indeed a new hobby: The German Soldier Song…!

Basing my reference book around the soldier-musicians of the Nazi era, in the course of my research I happened upon a couple of picture postcards sent back from German soldiers fighting in the icy wastes on the Russian Front in 1941 to their loved ones manning the ‘Home Front’ back in Germany and though I was interested in the military Feldpost stampings on the back, it was the front covers that really captivated me, featuring as they did two popular songs of the day, Rosemarie and the famous Wir fahren gegen Engeland..!

Despite having been a collector of Third Reich militaria since that days of my small museum back in my early teens, I had never come across such cards before and immediately set about trying to find a source and so visited my very first postcard collector’s fair in late 1996, armed with my two Third Reich period song cards, which I proceeded to show to any dealer who could spare the time to talk to me.

Unfortunately the general reaction was one of complete mystery, but undaunted I continued to then trudge around as many postcard fairs as I could; even so I only managed to elicit the odd one or two of these rather lovely Third Reich period lyric cards, (which sadly were usually dog-eared or damaged), and the odd, rather attractive First World War card, but I could still obtain no further thoughts from UK dealers as to just how many types of these specific music-related cards there may have been…

Then a year or so later, with just 20-odd cards to my name, two of my new Third Reich music-collector friends, John in the States and Stuart here in the UK,, found that they too were beginning to pick up similar song-cards and suddenly I didn’t feel quite so alone in my pursuit of knowledge!

Exchanges of the limited information available and sometimes swaps of our precious stock began to take place between my two collector pals, whilst two new American dealers I had located, Tom & Greg, very kindly began seeking out such cards, though with the pencilled Deutsche-Mark prices still left on the back of many, it was becoming obvious that they were mostly coming in directly from Germany!

Several years into my study, I was beginning to see a pattern emerge and even at this early stage, (which was still primarily as a part of my research into German military music), and get a feel for what cards had been  printed during the Third Reich: ornate cards, plain cards, coloured cards, those that were overtly political & propaganda-based, some that were purely military, whilst others of a more civilian nature offered the words to the most famous songs, and others not so well known; indeed some were gentle in their picture content whilst others represented a German people fully committed to the defence of the Third Reich…

In addition the same names of card producers, such as Horns-Verlag of Gotha, Robert Franke of Hamburg, Greishaber und Säuberlich of Stuttgart and Verlag. J. Bottger of Bad Godesberg were beginning to turn up with some regularity amongst the production details on the backs of the cards.

Despite my on-going research, there was still a strange ignorance on this subject and even a well-known publisher of superb works on WW-II who has produced three volumes of Third Reich Propaganda Postcards was perplexed. Apart from a handful of cards devoted to the Horst Wessel Lied he entirely ignored the German Soldier Song postcard as a genre and on questioning him why this should be, received the answer that his work only revolved around propaganda cards, deeming my cards to be purely German military only which I found odd..!

So though no further forward, at least somebody well versed in German postcards had actually categorised my song card collection and knowing that he deemed them to be German military was fine, but where were all the listings (and dealers), for such cards and where were all the wonderful illustrations in other collectors’ written works for me to compare my growing collection?

The other imponderable was the apparent random pricing structure, as  apart from the interest and value attached to the overtly political Horst Wessel Lied song cards with their obvious Nazi link, it often appeared that dealers placed a card value based more on what is/was on the back of the card, i.e. the franking and/or the actual postage stamp, rather than the song & picture details contained on the front; for  example I once paid slightly over the odds for two cards bearing songs that weren’t particularly unusual because both cards, when turned over, bore the imprint of the ‘SS Standort Hospital’ at the Dachau Concentration Camp..!

This as a former school-boy stamp collector myself, I quite understand and this has since played to my advantage when I have been fortunate enough to pick up other cards with Nazi songs and imagery that I considered to be scarce, but because they were unissued and blank on the back I was offered them for merely a couple of pounds each, precisely because the dealer in question had seen nothing on the back, such as a stamp or Feldpost imprint, though which he could value the card higher!.

As with my general Third Reich militaria collecting days, I have built up and then sold several Nazi-era song card collections, and am back on the hunt again but as before  I try only collect mint-to unissued condition postcards where possible, ( a number of which are featured in my III Reich Military Music & Bandsmen Book), whereas dog-eared, damaged or defaced cards do not normally find a permanent in my Archive after they have served their research purposes, though after many years of searching, the number of new cards turning up is much more limited,

However I know of at least one new collector, (Ian up in Scotland), that started acquiring these wonderful soldier song cards as a direct result of seeing those featured in my book, so that is at least 4 of us I now know for sure are collecting such cards… Happy Days!

Copyright @ Brian Matthews 2013

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