
Collection entry
Das Heer (Vol 2)
Fourteen supplied selections place a Heidelberg popular-song title beside political dedications and military references. Their histories include a persecuted writer, anti-republican organizations and the Wehrmacht’s crimes; the army-themed label does not identify the performers.
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14 tracks · About 40 minutes
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Audio language and vocal or instrumental content have not yet been verified.
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Gefallt Dir Meine Grune
$9.99
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MP3 recordings in one ZIP download (about 76.1 MB). Download only · No physical record or CD.
Tracklists, historical notes and sources are available on this website.
The recordings
Gefallt Dir Meine Grune3:03
Recording details
The supplied title is abbreviated; its complete work title remains unresolved.
Sources & Resources
Ich Hab Mein Herz In Heidelberg Verloren2:50
Historical Context
Heidelberg’s municipal archive describes Fred Raymond’s song as a success in 1925. A separate theatre production is documented in 1932. Buchenwald Memorial associates the song with Fritz Löhner-Beda, who died at Auschwitz-Monowitz on 4 December 1942 after an SS beating.
Recording details
The municipal notice’s exclusive text credit conflicts with other references. The theatre bill concerns a separate stage production; version, text attribution and audio-to-work match remain unresolved.
Schneidig Ist Die Infanterie2:36
Historical Context
Prieberg lists Wir sind vom Heer die Infanterie, with Schneidig ist die Infanterie! in parentheses, and a 1942 accordion arrangement by L. Kletsch. This offers a documented work-level comparison for the supplied title.
Recording details
The reference entry has been visually checked, but the original score and supplied audio have not been matched. The arrangement’s date and credit do not identify this performance.
Stahlhelm Bundesmarsch3:06
Historical Context
The Stahlhelm veterans’ organization joined the anti-republican Harzburg Front in 1931, was incorporated into the SA in 1934 and was dissolved in 1935. Its political history gives context to the organization named in this march title. A newspaper review printed on 30 May 1933 names a Stahlhelm-Bundesmarsch by Herm. Blume and a Gloria issue.
Recording details
The review identifies a comparison work and separate Gloria issue G.O.10717; neither is authenticated for this supplied file. The catalogue wrapper says 29 May, but the scanned newspaper is dated 30 May 1933.
Hindenburg Marsch2:47
Historical Context
Hindenburg’s public image drew on his First World War military reputation. As president, he appointed Hitler chancellor on 30 January 1933 and signed the emergency decree of 28 February.
Recording details
A dedication to Hindenburg is not a unique work identifier and does not establish a political occasion or recording date.
Dort Wo Die Eichen2:50
Recording details
This abbreviated title has not been assigned to a complete work or composer.
Sources & Resources
Immer Wenn Soldaten Singen2:56
Recording details
No authoritative work or recording match is established. The title does not authenticate a military ensemble.
Sources & Resources
Morgenlied Der Soldaten2:48
Recording details
An earlier trade-catalogue lead was not checked directly; the composer and edition date remain unresolved.
Sources & Resources
Warte Mein Madel3:06
Recording details
The exact work and arrangement remain unresolved. A comparison with “Kriegsmarine” has not established a shared historical performance.
Sources & Resources
Ich Denk An Dir Mein Deutsches Madchen2:16
Recording details
The supplied an dir wording remains unchanged. No exact work or setting has been identified.
Sources & Resources
Nach Vorn.Munitionskolonne!3:04
Recording details
The supplied title remains unassigned to a composer, unit or recording occasion. The product’s comma and spacing are documented editorial display variants.
Sources & Resources
Wenn Wir Durch Die Stadt Marschieren2:57
Historical Context
The Library of Congress catalogues a 1935 Hermann Blume publication matching the city-marching title, in box-folder 19/13. The two supplied positions preserve different digital files.
Recording details
This is a work comparison. Tracks 12 and 13 are not exact digital duplicates; different takes, historical performances or transfers are not established.
Wenn Wir Durch Die Stadt Marschieren3:00
Historical Context
The Library of Congress catalogues a 1935 Hermann Blume publication matching the city-marching title, in box-folder 19/13. This second supplied position is retained separately.
Recording details
This is a work comparison. The two source positions remain separate, with no preferred copy, take number or verified version label.
Im Schutz Der Wehrmacht2:51
Historical Context
The United States Holocaust Memorial Museum documents the Wehrmacht’s participation in forced labour and mass murder, including the army. This history is important context for a title presenting the Wehrmacht as protective.
Recording details
Institutional history does not identify a work or performer, establish a musician’s affiliation, or attribute a particular crime.
Behind the sound
Popular music, political dedications and persecution
Heidelberg’s municipal archive describes Fred Raymond’s song as a success in 1925; a 1932 theatre bill concerns a separate stage production. Buchenwald Memorial associates the song with Fritz Löhner-Beda and records his deportation through Dachau and Buchenwald to Auschwitz-Monowitz, where he died following an SS beating on 4 December 1942. His persecution belongs beside the title’s later presentation as military entertainment.
The Stahlhelm veterans’ organization joined the NSDAP and other anti-republican groups in the Harzburg Front in 1931, was incorporated into the SA in 1934 and was dissolved in 1935. Hindenburg’s public reputation also crossed political settings: the First World War commander later appointed Hitler chancellor and signed the February 1933 emergency decree. These histories give weight to the dedications without dating the marches or their performances.
The United States Holocaust Memorial Museum documents the Wehrmacht’s participation in forced labour and mass murder, including the army. That history is essential to interpreting a collection framed by military identity, especially a title presenting the Wehrmacht as protective. It does not establish the institutional membership of unidentified performers or connect any particular musician with a specific crime.
Presented for critical historical study, including Fritz Löhner-Beda’s persecution and the people harmed by Nazi military violence. Nazi ideology and mass murder are not endorsed.
