{"product_id":"das-heer-soldaten-der-wehrmacht","title":"Das Heer - Soldaten der Wehrmacht","description":"\u003cp\u003eDas Heer - Soldaten der Wehrmacht brings together nineteen supplied titles concerning soldiers’ songs, comradeship, popular entertainment and separation. Presented for historical study and critical listening, the programme examines everyday musical life alongside the army’s role in Nazi aggression and persecution. The compilation label does not establish the performers, recording dates or unit affiliations.\u003c\/p\u003e\n\u003cp\u003e19 MP3 access files • 256 kbps • stereo • approximately 53 minutes 50 seconds.\u003c\/p\u003e\n\u003ch2\u003eYour download\u003c\/h2\u003e\n\u003cp\u003eA 19-track MP3 access edition has been prepared from the supplied WAV files. The source WAVs are 44.1 kHz, stereo, 16-bit PCM. All 19 source files and full-length MP3 derivatives passed complete technical decoding checks; the source files remain unchanged.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDigital download · USD 9.99.\u003c\/strong\u003e Recording identification and rights review remain open for all 19 tracks.\u003c\/p\u003e\n\u003cp\u003eTitles and sequence follow the supplied filenames, including their spelling and punctuation. Durations are measured from the source WAVs and rounded to the nearest second. The English historical notes are written context and are not part of the audio.\u003c\/p\u003e\n\u003ch2\u003eTrack listing\u003c\/h2\u003e\n\u003col\u003e\n\u003cli data-source-filename=\"01 Es Ist So Schön Soldat Zu Sein.wav\"\u003eEs Ist So Schön Soldat Zu Sein \u003cspan\u003e(3:06)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"02 Erika.wav\"\u003eErika \u003cspan\u003e(3:08)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"03 Westerwald.wav\"\u003eWesterwald \u003cspan\u003e(2:29)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"04 Schwarzbraun Ist Die Haselnuss.wav\"\u003eSchwarzbraun Ist Die Haselnuss \u003cspan\u003e(3:04)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"05 Drei Mädel.wav\"\u003eDrei Mädel \u003cspan\u003e(3:00)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"06 Jeder Fur Jeden.wav\"\u003eJeder Fur Jeden \u003cspan\u003e(2:52)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"07 Die Ganze Kompanie.wav\"\u003eDie Ganze Kompanie \u003cspan\u003e(2:46)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"08 Schön Ist Bei Den Soldaten.wav\"\u003eSchön Ist Bei Den Soldaten \u003cspan\u003e(2:59)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"09 Funkerlied.wav\"\u003eFunkerlied \u003cspan\u003e(2:32)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"10 Lili Marleen.wav\"\u003eLili Marleen \u003cspan\u003e(3:00)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"11 Drei Kameraden Im Bunker.wav\"\u003eDrei Kameraden Im Bunker \u003cspan\u003e(2:43)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"12 Nun Heisst `s Marchieren.wav\"\u003eNun Heisst `s Marchieren \u003cspan\u003e(2:50)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"13 Tschingta Tschingta Bummtara.wav\"\u003eTschingta Tschingta Bummtara \u003cspan\u003e(2:21)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"14 Ein Jedes Mädel Liebt Das Militär.wav\"\u003eEin Jedes Mädel Liebt Das Militär \u003cspan\u003e(2:48)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"15 Edelweiss.wav\"\u003eEdelweiss \u003cspan\u003e(3:23)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"16 Sie Hiess Marie.wav\"\u003eSie Hiess Marie \u003cspan\u003e(3:06)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"17 Die Graue Kompanie.wav\"\u003eDie Graue Kompanie \u003cspan\u003e(2:21)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"18 Soldaten Sind Immer Soldaten.wav\"\u003eSoldaten Sind Immer Soldaten \u003cspan\u003e(2:03)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli data-source-filename=\"19 Uns Kann Keiner.wav\"\u003eUns Kann Keiner \u003cspan\u003e(3:19)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eMusic in its historical setting\u003c\/h2\u003e\n\u003ch3\u003eThe army label and the history of Nazi violence\u003c\/h3\u003e\n\u003cp\u003eThe United States Holocaust Memorial Museum documents the Wehrmacht’s participation in forced labor and the mass murder of Jews and other targeted groups. It rejects the postwar claim that the military stood apart from Nazi genocidal policy. Titles about comradeship and everyday military life must be interpreted within that history. This institutional context does not identify the individual people heard in these unverified files. \u003ca href=\"https:\/\/encyclopedia.ushmm.org\/content\/en\/article\/the-german-military-and-the-holocaust\"\u003eUnited States Holocaust Memorial Museum: The German Military and the Holocaust\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eA printed comparison for Es Ist So Schön Soldat Zu Sein\u003c\/h3\u003e\n\u003cp\u003eThe Library of Congress catalogues a 1937 Friedrich Möricke edition of Es ist so schön Soldat zu sein under Herms Niel, in box-folder 27\/7. That is a work-identification lead, not a recording date or performer credit for track 1. \u003ca href=\"https:\/\/tile.loc.gov\/storage-services\/service\/gdc\/gdcfindingaidpdfs\/mu020021\/mu020021.pdf\"\u003eLibrary of Congress: German National Music Collection finding aid\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eErika and circulation across languages\u003c\/h3\u003e\n\u003cp\u003eThe National Library of Finland catalogues a Finnish version of Erika, titled Kaarina, in a voice-and-piano score published by R. E. Westerlund in Helsinki and dated [1941]. It credits Herms Niel for the original work and Palle for the Finnish words. This documents the work’s circulation in another language; it does not establish the language, arrangement, publication year or performers of the supplied file. \u003ca href=\"https:\/\/www.finna.fi\/Record\/fikka.5844940?lng=en-gb\"\u003eNational Library of Finland: Kaarina \/ Erika, printed score, [1941]\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eA song with several social histories\u003c\/h3\u003e\n\u003cp\u003eBarbara Boock’s research compares Schwarzbraun ist die Haselnuss in workers’ youth songbooks, including a 1928 publication, with later versions such as a 1934 Hitler Youth songbook. This evidence cautions against treating the title as an exclusively Nazi creation. Its words and uses varied across communities. Which version, arrangement or performance is present here remains unverified. \u003ca href=\"https:\/\/www.hf.uni-koeln.de\/data\/musikeume\/File\/ad%20marginem\/adm74.pdf\"\u003eBarbara Boock: research on Schwarzbraun ist die Haselnuss, ad marginem 74 (2001), pp. 3–10, University of Cologne\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eLili Marleen across the wartime divide\u003c\/h3\u003e\n\u003cp\u003eHaus der Geschichte describes Lili Marleen as popular on opposing sides of the Second World War and in later conflicts. Its exhibition links the song to composer Norbert Schultze, Lale Andersen and many subsequent interpreters, using scores, records and personal collections. Those associations help explain the work’s reception. They do not justify assigning Andersen, Dietrich or any other singer to this particular audio. \u003ca href=\"https:\/\/www.hdg.de\/haus-der-geschichte\/ausstellungen\/lili-marleen-ein-schlager-macht-geschichte\"\u003eHaus der Geschichte: Lili Marleen. Ein Schlager macht Geschichte\u003c\/a\u003e.\u003c\/p\u003e\n\u003ch3\u003eUns Kann Keiner: a dated score, an undated performance\u003c\/h3\u003e\n\u003cp\u003eThe Library of Congress lists Uns kann keiner, Marsch und Lied under Wiga Gabriel, published by Edition Gabriel in 1940, in box-folder 21\/8. This gives a specific printed work to compare with the final track. The performance, arrangement and recording date remain unknown. \u003ca href=\"https:\/\/tile.loc.gov\/storage-services\/service\/gdc\/gdcfindingaidpdfs\/mu020021\/mu020021.pdf\"\u003eLibrary of Congress: German National Music Collection finding aid\u003c\/a\u003e.\u003c\/p\u003e\n\u003cdetails\u003e\u003csummary\u003eRecording research and provenance\u003c\/summary\u003e\n\u003cp\u003eOriginal carriers, labels, matrix numbers, recording dates and transfer histories remain unverified.\u003c\/p\u003e\n\u003cp\u003ePerformers, ensembles, arrangements, recording dates, original labels, catalogue and matrix numbers, original carrier medium, transfer history, audible language and vocal or instrumental content remain unverified. Work-level history and edition dates do not authenticate a recording.\u003c\/p\u003e\n\u003ch3\u003eTrack-by-track recording and rights notes\u003c\/h3\u003e\n\u003cp\u003eEvery supplied track is retained in its original position. The issues below remain open even though the files passed technical decoding checks; successful decoding does not authenticate a performance or establish permission to distribute it.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 1: Es Ist So Schön Soldat Zu Sein\u003c\/strong\u003e. Niel’s printed Es ist so schön Soldat zu sein provides a work-identification lead. The 1937 edition date and work credit have not been assigned to this recording. \u003ca href=\"https:\/\/tile.loc.gov\/storage-services\/service\/gdc\/gdcfindingaidpdfs\/mu020021\/mu020021.pdf\"\u003eLibrary of Congress: German National Music Collection finding aid\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 2: Erika\u003c\/strong\u003e. The catalogued Finnish score Kaarina \/ Erika supports a comparison with a work by Niel. It provides no evidence of the language, arrangement, date or performers heard in this file. \u003ca href=\"https:\/\/www.finna.fi\/Record\/fikka.5844940?lng=en-gb\"\u003eNational Library of Finland: Kaarina \/ Erika, printed score, [1941]\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 3: Westerwald\u003c\/strong\u003e. Westerwald is a geographic and abbreviated song title. The precise work, lyric version and performance remain unverified. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 4: Schwarzbraun Ist Die Haselnuss\u003c\/strong\u003e. Schwarzbraun Ist Die Haselnuss is a title lead with several documented historical versions. The text, arrangement and recording represented by this file remain unresolved. \u003ca href=\"https:\/\/www.hf.uni-koeln.de\/data\/musikeume\/File\/ad%20marginem\/adm74.pdf\"\u003eBarbara Boock: research on Schwarzbraun ist die Haselnuss, ad marginem 74 (2001), pp. 3–10, University of Cologne\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 5: Drei Mädel\u003c\/strong\u003e. Drei Mädel retains its supplied spelling. A precise work and recording identification remain open. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 6: Jeder Fur Jeden\u003c\/strong\u003e. Jeder Fur Jeden has no established authoritative work or recording match in the supplied research. Authorship, edition and performance require identification. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 7: Die Ganze Kompanie\u003c\/strong\u003e. Die Ganze Kompanie has no established authoritative work or recording match. Authorship cannot be inferred from neighboring tracks. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 8: Schön Ist Bei Den Soldaten\u003c\/strong\u003e. Schön Ist Bei Den Soldaten preserves the supplied wording. It has not been silently changed to a differently worded title or assigned to a particular composition. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 9: Funkerlied\u003c\/strong\u003e. Funkerlied is a generic song designation. No specific work, composer or military unit has been established. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 10: Lili Marleen\u003c\/strong\u003e. Lili Marleen has a well-documented work history, but this file has no verified singer, take, label or recording date. Neither Lale Andersen nor Marlene Dietrich has been assigned as its performer. \u003ca href=\"https:\/\/www.hdg.de\/haus-der-geschichte\/ausstellungen\/lili-marleen-ein-schlager-macht-geschichte\"\u003eHaus der Geschichte: Lili Marleen. Ein Schlager macht Geschichte\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 11: Drei Kameraden Im Bunker\u003c\/strong\u003e. Drei Kameraden Im Bunker suggests a comradeship theme. It does not identify an actual event, bunker, group of people or precise composition. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 12: Nun Heisst `s Marchieren\u003c\/strong\u003e. Nun Heisst `s Marchieren retains the literal backtick and spacing. The apparent opening line has not been expanded into a verified work title. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 13: Tschingta Tschingta Bummtara\u003c\/strong\u003e. Tschingta Tschingta Bummtara has no established authoritative work or recording match in the supplied research. Authorship, edition and performance require identification. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 14: Ein Jedes Mädel Liebt Das Militär\u003c\/strong\u003e. Ein Jedes Mädel Liebt Das Militär retains its supplied Mädel wording. A precise work and recording identification remain open. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 15: Edelweiss\u003c\/strong\u003e. Edelweiss is an ambiguous short title. No connection has been assigned to Es war ein Edelweiß, an Edelweiß march or the later Rodgers–Hammerstein song. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 16: Sie Hiess Marie\u003c\/strong\u003e. Sie Hiess Marie is insufficient to select a precise composition or recording. Authorship and edition remain unverified. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 17: Die Graue Kompanie\u003c\/strong\u003e. Die Graue Kompanie has no established authoritative work or recording match in the supplied research. Authorship, edition and performance require identification. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 18: Soldaten Sind Immer Soldaten\u003c\/strong\u003e. Soldaten Sind Immer Soldaten has no established authoritative work or recording match in the supplied research. Authorship, edition and performance require identification. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTrack 19: Uns Kann Keiner\u003c\/strong\u003e. The Library of Congress’s 1940 Edition Gabriel score for Uns kann keiner, Marsch und Lied provides a comparison work. Its publication details do not establish this file’s performance, arrangement or date. \u003ca href=\"https:\/\/tile.loc.gov\/storage-services\/service\/gdc\/gdcfindingaidpdfs\/mu020021\/mu020021.pdf\"\u003eLibrary of Congress: German National Music Collection finding aid\u003c\/a\u003e. \u003cstrong\u003eRecording identification and rights review remain open.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eComparison leads and limits\u003c\/h3\u003e\n\u003cp\u003eTrack 1, Es Ist So Schön Soldat Zu Sein, and “Ich hatt’ einen Kameraden” track 19, Es Ist So Schon Soldat Zu Sein, have different measured durations and different complete-file and decoded-audio checksums. No timing-alignment test was performed for this pair. A shared historical recording, alternate edit or transfer remains unresolved.\u003c\/p\u003e\n\u003cp\u003eTrack 5, Drei Mädel, and “Edeltraut - The German NS Girl” track 3, Drei Madel, have different complete-file and decoded-audio checksums. A bounded alignment check allowing a constant timing shift within five seconds did not establish digital equivalence. This limited result does not establish that they are distinct historical recordings, and the work and performance relationship remains unresolved.\u003c\/p\u003e\n\u003cp\u003eTrack 14, Ein Jedes Mädel Liebt Das Militär, and “Edeltraut - The German NS Girl” track 1, Ein Jedes Madchen Liebt Das Militar, have different complete-file and decoded-audio checksums. No timing-alignment test was performed for this pair. The supplied Mädel\/Madchen difference and separate album positions are retained; the work, performance and transfer relationship remains unresolved.\u003c\/p\u003e\n\u003cp\u003eA \u003ca href=\"https:\/\/musicbrainz.org\/release\/9dcb5b71-08c9-42c5-8642-b4375885681b\/disc\/1\"\u003euser-edited MusicBrainz entry\u003c\/a\u003e has a corresponding nineteen-title sequence. Its release artist, durations, language and release status have not been treated as evidence about these files.\u003c\/p\u003e\n\u003cp\u003eRecording identity and distribution rights remain under review. All supplied tracks remain subject to recording identification and rights review. No public-domain, royalty-free or redistribution permission is asserted; the price does not establish distribution rights.\u003c\/p\u003e\n\u003cp\u003eFurther review must address the work, arrangement and particular recording in the relevant territories, including first publication and the chain of permission. The \u003ca href=\"https:\/\/www.copyright.gov\/music-modernization\/pre1972-soundrecordings\/\"\u003eU.S. Copyright Office’s pre-1972 recording guidance\u003c\/a\u003e and German \u003ca href=\"https:\/\/www.gesetze-im-internet.de\/stgb\/__86.html\"\u003eStGB § 86\u003c\/a\u003e and \u003ca href=\"https:\/\/www.gesetze-im-internet.de\/stgb\/__86a.html\"\u003e§ 86a\u003c\/a\u003e are research starting points. No legal clearance is inferred from age, educational framing or a catalogue match.\u003c\/p\u003e\n\u003cp\u003ePresented for critical historical study of music, propaganda, militarization and the cultures surrounding dictatorship. No endorsement of Nazi or fascist ideology is intended. No lyrics or lyric translations are reproduced.\u003c\/p\u003e\n\u003c\/details\u003e\n","brand":"History in Sound","offers":[{"title":"Default Title","offer_id":53708327747873,"sku":"HIS-CD870-ALBUM","price":9.99,"currency_code":"USD","in_stock":true}],"url":"https:\/\/nadeltonrecordings.com\/products\/das-heer-soldaten-der-wehrmacht","provider":"Nadelton Recordings","version":"1.0","type":"link"}