Collection entry
Edeltraut - The German NS Girl
Fifteen supplied titles centre on affection, farewell and wartime separation. The collection’s political subtitle frames questions about entertainment, gender roles and persecution under National Socialism, while leaving performers’ identities and affiliations unresolved.
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15 tracks · About 42 minutes
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Audio language and vocal or instrumental content have not yet been verified.
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Ein Jedes Madchen Liebt Das Militar
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MP3 recordings in one ZIP download (about 79.5 MB). Download only · No physical record or CD.
Tracklists, historical notes and sources are available on this website.
The recordings
- Ein Jedes Madchen Liebt Das Militar2:50
- Edeltraut2:55
- Drei Madel2:58
- Rote Rosen2:18
Es Liebten Sich Zwei In Der Rosenzeit2:41
Historical Context
Michael Jary and lyricist Bruno Balz’s Rosenzeit song belonged to the film Zwei Welten, directed by Gustaf Gründgens. Henner Pfau’s dance-music lexicon lists it in 1939 as a march-foxtrot, while the DFF dates the film’s Berlin premiere to 5 January 1940. Its story follows two young men who exchange identities during a harvest-help visit, unsettling an aristocratic household’s prejudices. The song also exists independently in printed music: Hal Leonard lists a Ricordi edition for voice and piano.
Recording details
This named-work comparison does not identify the supplied performance, singer, ensemble, arrangement, language, recording date or original issue.
- Du Schonste Von Stadtel, Schwarzbraune Madel2:41
Ich Will Dir Gehoren2:49
Historical Context
Ich will dir gehören appears in Berlin’s state-library catalogue as a 1942 slowfox by Franz Doelle. Music historian Fred K. Prieberg links the song to Die Nacht in Venedig, directed by Paul Verhoeven. DFF dates its Berlin premiere to 2 April 1942. The film’s musical materials were mixed: alongside Doelle’s music, its credits name melodies from Johann Strauss’s operetta Eine Nacht in Venedig and an aria from Verdi’s Rigoletto.
Recording details
The title permits a candidate work history only. These sources do not identify this performance, its singer, ensemble, arrangement, language, recording date or original release.
- Du Bist Zu Schon Um Treu Zu Sein2:34
Sag Beim Abschied Leise Servus3:14
Historical Context
Sag beim Abschied leise Servus connects popular song with the cinema. Publisher Helbling identifies it as Peter Kreuder’s song from Burgtheater; the DFF records the film’s German premiere on 13 November 1936. A song of farewell could continue circulating through later, separately arranged editions.
Recording details
The film date does not date this file or establish a soundtrack source. Helbling’s modern Carsten Gerlitz arrangement and any film performers are not assigned to the supplied recording.
Nach Jedem Abschied Gibt es Ein Wiedersehen3:09
Historical Context
The song catalogued as Nach jedem Abschied gibt’s ein Wiedersehn is a slow waltz from Herzensfreud–Herzensleid, with music by Ludwig Schmidseder and words credited to Aldo von Pinelli and Hubert Marischka. The film follows a young composer whose secret marriage disrupts his wealthy family’s plans. It premiered in Bochum on 20 December 1940, reaching Berlin cinemas the following January. The song’s printed life continued beyond its film setting: Sikorski includes it in Das große Evergreen-Concert, a collection for voice and piano.
Recording details
These sources concern a candidate song and its film and print history. They do not establish the supplied performance’s musicians, arrangement, language, recording date or original release.
- Auf Wiedersehen, Schatzelein2:49
- Nachtlied3:20
Feldpost Fur Annchen2:50
Historical Context
Field post connected soldiers with households through letters, cards and parcels under military censorship. The Museumsstiftung’s collection, especially strong in First and Second World War letters, offers a documentary counterpoint to sentimental songs about messages between the front and home.
Recording details
The title’s Annchen is not identified as a historical correspondent, and no actual letter or personal story is assigned to this recording.
Sources & Resources
Indexed source text was checked; full-page extraction remains unavailable or incomplete.
Museumsstiftung Post und Telekommunikation: field-post letters
- Wer Weiss Was Uns Bluht, Marie2:26
Tapfere Kleine Soldatenfrau2:18
Historical Context
The private Notenmuseum collection catalogues a 1941 edition of Tapfere, kleine Soldatenfrau with music and words by Karl Sträßer. The printed text frames separation through the ideal of a patient, supportive wife, showing how domestic affection could be enlisted in wartime expectations.
Recording details
The publication and its text are comparison evidence. They do not identify this file’s words, singers, arrangement, recording date or original carrier.
Sources & Resources
This is a private collection’s item record, not independent authentication of the supplied audio.
Behind the sound
Private feeling within a persecuting state
The German Historical Museum describes how Nazi organizations drew women into the dictatorship and presented motherhood and household work as national duties. A 1941 printed edition of Tapfere, kleine Soldatenfrau, catalogued by the private Notenmuseum collection, offers a comparison through its ideal of a loyal, supportive wife. That publication date and its credits do not identify the supplied performance.
Popular songs could connect cinema and experiences of separation. Publisher Helbling links Sag beim Abschied leise Servus with Burgtheater; DFF records the film’s German premiere in November 1936. These references do not establish a soundtrack recording here. The Museumsstiftung’s field-post letters offer another comparison for the programme’s wartime vocabulary, without identifying an actual letter or correspondent in the supplied audio.
Entertainment also circulated within institutions shaped by persecution. The Austrian Mediathek places popular recordings in commercial, radio and film cultures while documenting the expulsion of Jewish artists from public life, forced exile, deportation and murder under Nazi racial policies. That history belongs beside sentimental titles about home and affection. The circumstances of these individual performances remain a separate, unresolved question.
Presented for critical historical study, including the persecution, exile and murder of Jewish artists. Nazi ideology and the coercion surrounding dictatorship are not endorsed.