Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive): 1849, so we may assume that what is glorified here is the putting down of the revolution of 1848, when the freshly-installed emperor Franz Josef I defeated with the help of Russians and Croats the last revolutionary army in Hungary. 1: An seine Braut", which suggests that Slawik wrote kind of a cycle, the first poem of which was titled "An seine Braut" but Randhartinger composed none of the other poems. Erika (or Auf der Heide blüht ein kleines Blümelein) is a marching song of the German military.Notes (provided by Johann Winkler): Randhartinger's autograph uses the title "Soldatenlieder Nr. The song was composed by Herms Niel in the 1930s, and it soon came into usage by the Wehrmacht, especially the Heer and, to a lesser extent, the Kriegsmarine. The theme of the song is based on "Erika" being both a common German female first name and the name of the heather plant (German: Heide, Erika Latin: Erica), of which the heather-yards are considered as a "symbol of German natural heritage". In itself, the song has no military themes, beyond the fact that the narrator (evidently a soldier, though this is not explicitly stated) is away from his beloved and recalls her when seeing the plant which has the same name. The song has also become traditional by the highly Prussianized Chilean Army. The Finnish Army had a Finnish translation version, Kaarina, of this song during the World War II. A version, with Afrikaans lyrics, was the anthem of the South African Air Force during the apartheid years. The lyrics of the song were written by Niel, a German composer of marches. The exact year of the song's origin is not known often the date is given as "about 1930," a date that, however, has not been substantiated. The song was originally published in 1938 by the publishing firm Louis Ortel in Großburgwedel. It was a great success even before the start of World War II. Niel, who in early May 1933 joined the NSDAP and was among others became a "leading" Kapellmeister at the Reichsarbeitdienst, created numerous marches that largely served the National Socialist propaganda campaigns. In particular the Reichpropagandaminister Joseph Goebbels, as Berszinski writes, noticed early on that down-to-earth, simple songs were a useful propaganda tool. The more that the songs served as a departure from the hard reality into dreamful felicity and affected a sentimental love song idyll, the better the "true face of Nazi Germany" could be hidden behind the joyful major-key notes. The close connection of National Socialism with the new technical mass media, especially film and radio, came to the contrary and swiftly ensured the popularity of the Nazi songs. The military hits and marches were the "answer closer approaching war." In all about 15,000 National Socialist songs were produced between 19, as well as about one and a half million sheets of documents that alone were related to music. The song was and is continued to be perceived as a typical part of the German treasury of songs and is indeed to this day mostly inseparably tied with the German Bundeswehr. For example, in 1983 for the ten-year anniversary of the junta in Chile, the song was a part of the repertoire of the marching band of a Chilean military battalion. It was typically sung by conscripts at the end of basic training.After the twelve-year rupture caused by the Nazis, in the Soviet zone after 1945 attempts were made to reconnect with the traditions of workers’ songs and critical folk songs that were viewed as the cultural heritage of the communist movement.Īn Afrikaans version of the song was the march of the South African Air Force Gymnasium until 1994. One of these ‘repertoires’ of song was that of the 1848 Revolution. In the 1950s GDR researchers such as the Germanist Bruno Kaiser, the musicologist Inge Lammel and in particular the folklorist Wolfgang Steinitz made substantial contributions to the collecting and publishing of the 1848 songs. Their work provided an important reference point for the singers of the German folk song revival in the GDR from the late 1970s onwards. As the cases of groups such as Folkländer and Wacholder showed, theirs was a particularly creative appropriation of the revolutionary ‘Erbe’ that involved performing protest songs of the past as if they were criticising the present. Nach dem zwölfjährigen Kulturbruch in Deutschland während des ‘Dritten Reichs’ versuchte man nach 1945 in der sowjetischen Zone, an demokratische Traditionen wie die Lieder der Arbeiterbewegung oder sozialkritische Volkslieder anzuknüpfen.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |